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Full text of "The tempest;"

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SHAKESPEARE'S PLAY OF 

THE TEMPEST 

ARRANGED FOR REPRESENTATION AT 

THE PRINCESS'S THEATRE, 

WITH 

HISTORICAL AND EXPLANATORY NOTES, 



BY 



CHARLES KEAN, F.S.A., 

AS FIRST PERFORMED ON 

. WEDNESDAY, JULY 1, 1857. 



ENTERED AT STATIONERS' HALL. 



lEontron : 
PRINTED BY JOHN K. CHAPMAN AND CO., 

5, SHOE LANE, AND PETERBOROUGH COURT, FLEET STKEF/r. 



PRICE ONE SHILLING. 

TO BE HAD IN THE THEATRE. 



SHAKESPEARE'S PLAY OF 

THE TEMPEST, 



ARRANGED TOR REPRESENTATION AT 

THE PRINCESS'S TffEATRE, 

WITH 

HISTORICAL AND EXPLANATORY NOTES, 

BY 

CHARLES KEAN, F.S.A., 



AS FIRST PERFORMED ON 



WEDNESDAY, JULY 1, 1857. 



ENTERED AT STATIONERS' HALL. 



ITontron : 
PRINTED BY JOHN K. CHAPMAN AND CO., 

SHOE LANE, AND PETERROKOUGEI COURT, FLEET STREET. 



JOHN K. CHAPMAN' AND COMPANY, 5, SHOE LANE, AND 
PETERBOROUGH COURT, FLEET STREET. 






DRAMATIS PERSONS. 



ALONSO, (King of Naplc*) ............ Mr. COOPER. 

SEBASTIAN, (his brother} ............ Mr. RAYMOND. 

PROSPERO, (the rightful Duke of Milan") Mr. CHARLES KEAN 



f ( A " hrotker > the 

( Duke of Milan) 

FERDINAND, (Son to the King of Naples') Miss BTJFTON. 

GONZALO, { C* honest oM Counsellor of\ M GKAH AM. 

\ Ao/^e.s) ) 

ADRIAN, \ \ Mr. BARSBY. 

FRANCISCO, ) Olr. BRAZIER. 

CALIBAN, (a Savage and Deformed Slave) Mr. RYDER. 
TRINCTTLO, (a Jester} ................ Mr. HARLEY. 

STEPHANO, (a Drunken Butler} .... Mr. FRANK MATTHEWS . 

BOATSWAIN, ...................... Mr. PAULO. 

Master of a &hip and Mariners. 

MIRANDA, (DavpJUer to Prospero) Miss CARLOTTA LECLERCQ. 
ARIEL, (an Airy Spirit) .............. Miss KATE TERRY. 

IRIS, , ( Miss DENVILLE. 

CERES, [ (Spirits.) j Miss HONEY. 

JITNO, ) ' Miss POOLE. 

Nymphs, Spirits, attending on Prospero, <tc., d'C. 



SCENE The Sea, witu a Ship ; afterwards an 

Island. 



M773443 



THE SCENERY Painted by Mr. GEIEVE and Mr. TELBIN, 

Assisted by Mr. W. GORDON, Mr. F. LLOYDS, 
Mr. CUTHBEET, Mr. DATES, Mr. MORRIS, &c., &c. 
THE Music under the direction of Mr. J. L. HATTOX. 

THE DANCES AND ACTION, by Mr. OSCAR BYRN. 

THE DKCOIIATIONS & APPOINTMENTS by Mr. E. AV. BRAD WELL, 

THE DRESSES by Mrs. and Miss HOGGINS. 

THE MACHINERY by Mr. G. HODSDON. 

uiER, Mr. ASPLIN, of No. 13, New Bond Street. 



For reference to Historical Authorities indicated l>y 
Letters, see end of each Act. 



PREFACE. 



" The Tempest, and the Midsummer Nighfs Dream, 
are the noblest efforts of that sublime and amazing 
imagination peculiar to Shakespeare, which soars 
above the bounds of nature without forsaking sense ; 
or more properly, carries nature along with him be- 
yond her established limits." Such are the words 
of one of our poet's most learned commentators. 
Doctor Warburton, Bishop of Gloucester, conveying 
a true estimate of the genius which conceived and 
constructed the play of The Tempest. This won- 
derful drama this bright creation of a sportive 
fancy which peoples the air with sylphs and spirits 
may be said to symbolize, almost as much as a his- 
torical play, a definite period in the world's annals. 

During the century that followed the first reve- 
lation' of a new hemisphere to the eyes of astonished 
Europe, the mind of man was repeatedly excited by 
the announcement of fresh wonders. The inspired 
perseverance of Columbus had awakened a spirit not 
to be extinguished, and the names of Vasco de Gama, 
Ferdinand Magellan, Sebastian Cabot, Francis Drake, 
Walter Raleigh, and other bold navigators, remain 



VI PREFACE. 



as bright monuments of an age of discoveries, which 
has since produced so great a change in the aspect of 
the entire world has expanded the human intellect 
by the constant presentation of new objects and 
has laid the foundation of those marvels which have 
emanated from the philosophy of modern science. It 
is this age of discoveries that is represented by The 
Tempest. 

In 1609, about three years before the production 
of the play, the disastrous shipwreck of Sir George 
Somers had familiarized the multitude with the 
Bermuda Islands, which, as we learn from the ad- 
dition to Stow's Annals, by Howes, were " said and 
supposed to be enchanted, and inhabited with witches 
and devils, which grew by reason of accustomed 
monstrous thunder-storm and tempest near unto 
those islands." 

While the living generation was yet impressed 
with these wonderful additions to the geography of 
the globe's surface, and bewildered by the fabulous 
stories derived from the bold and unscrupulous ad- 
venturers who had traversed those distant regions 
such; for instance, as the relation concerning <f men 
whose heads stood in their breasts," in Sir Walter 
lialeigh's voyage to Guiana in 1595 a most fearful 
tempest swept the coast of England, destroying hun- 
dreds of ships, and creating a terror so universal, that 
public prayers were ordered, by authority, in the 
various churches. 



PKEFACE. Vll 



This appalling visitation may, perhaps, have stimu- 
lated Shakespeare to compose a drama, which should 
combine a " topic of the day '' with those wonders of 
far countries which were greedily received as facts 
by the credulous masses. The belief in sorcery and 
witchcraft, which at that period prevailed, more or 
less, throughout all society, and which had found an 
additional aliment in the reports circulated with 
regard to the Bermudas, had so much disposed the 
public mind in favour of supernatural subjects, that 
amongst the audiences who first witnessed the play 
of The Tempest, many, doubtless, were to be found, 
who gave ready credence to the reality of the prodi- 
gies therein introduced. Apart from the popular 
superstitious belief of the time, to which, perhaps, the 
play partially owed its origin, the inexhaustible genius 
of the poet has transmitted to posterity one of the 
most fascinating dramatic compositions that ever 
sprang from human intellect. The enchanted island, 
governed by the wand of Prospero, released from its 
association with the Bermudas, remains an imaginary 
kingdom, the scene of affecting and mysterious inci- 
dents, over which Ariel presides as the image of air, 
in spiritual contrast to the grosser Caliban, who em- 
bodies the earthly element. 

In the stage arrangement, I have ventured to 
depart almost entirely from conventional precedent. 
To the close of the third act, for instance, where 
61 strange shapes," without any specified identity, arc 



Vlll PKEFACE. 



described as bringing in a banquet, I have endea- 
voured to give a mythological character. In a later 
portion of the play, a Masque is performed for the 
entertainment of Ferdinand and Miranda, which 
Shakespeare has invested with the classical forms of 
antique goddesses and nymphs. I have, therefore, 
deemed myself at liberty to adopt a similar view 
with regard to the supposed Islanders, who invite 
the King of Naples and his attendant Lords to 
their magical repast. Naiads, Dryads, and Satyrs 
have taken the place of the ludicrous and un- 
meaning monsters hitherto presented, as being not 
only more picturesque and poetical, but also more 
in accordance with the classical figure of the Harpy, 
which rises in the midst of them. To preserve the 
mythological tone throughout, the principal demons 
and goblins commanded to torture the brute Caliban, 
and his drunken associates, Trinculo and Stephano, 
at the close of the fourth act, are copied from 
Furies depicted on Etruscan vases. 

A great change has been made in the orchestral 
arrangements, under the direction of Mr. J. I/. 
Hat ton, who, with the exception of a few favorite 
and well-known airs, has composed the whole of 
the music. To give full strength to the vocal de- 
partment, Miss Poole has been specially engaged to 
appear as " Juno " in the Masque, and to take the 
solo parts in the invisible chorusses which pervade the 
performance. The songs usually allotted to Ariel 



PREFACE. IX 

will be transferred to this lady, as leader of the spirit- 
choir. In the play of The Tempest, no allusion 
being made to any definite period of action, I 
have exercised the liberty of selecting the thirteenth 
century as a date for costume. The vessel lost in 
the storm at the commencement, and restored in the 
calm at the close of the piece, is also copied from 
authentic records of the same period. 

The scenery has been painted by Mr. Grieve and 
Mr. Telbin ; and although a purely imaginative drama 
does not admit of those historical details which have 
been so accurately observed in earlier Shakespearian 
revivals at this Theatre, an endeavor has been 
made, in the present instance, to impart a generally 
new character to one of the most lofty productions of 
that master-poet, who supplied new worlds with 
the rapidity of thought, and of whom it has been so 
justly written, " that he lived, not for an age, but for 
all time." 

CHARLES KEAN. 

Ijgp The kind indulgence of the public is requested should any 
lengthened delay take place between the acts, during the first 
representations of The Tempest. 

This appeal is made -with greater confidence, when it is stated 
that the scenic appliances of the play are of a more extensive and 
complicated nature than have ever yet been attempted in any 
theatre in Europe ; requiring the aid of above one hundred and 
forty operatives nightly, Avho (unseen by the audience) are en- 
gaged in working the machinery, and in carrying out the various 
effects. 



THE TEMPEST. 



ACT I. 

SCENE I. A SE(IP IN A STORM. 

The first scene, as now arranged, may be considered (in 
introduction to the play ; on its conclusion, therefore, the 
f/resn curtain will descend, and the Overture will Jtere 
be performed, for the purpose of giving time for the 
clearing away and re-setting of the stage. 



SCENE II. THE ISLAND OVERLOOKING THE 
SEA. 

During the progress of the scene, the waters abate, the suit 
rises, and the tide recedes, leaving the yelloiv sands, to 
which FERDINAND is invited by ARIEL and the spirits. 

PROSPERO and MIRANDA. 

Mir. If by your art, my dearest father, you have 
Put the wild waters in this roar, allay them : 
O, I have suffer' d 

With those that I saw suffer ! a brave vessel, 
Who had no doubt some noble creatures in her, 
Dash'd all to pieces. O, the cry did knock 
Against my very heart ! Poor souls ! they perish'd. 

Pro. Be collected; 

No more amazement : tell your piteous heart, 
There's no harm done. 

Mir. O, woe the day ! 

Pro. N"o harm. 

I have done nothing but in care of thee, 



12 THE TEMPEST. [ACT r. 

(Of thee, my dear one ! thee, my daughter !) who 
Art ignorant of what thou art, nought knowing 
Of whence I am ; nor that I am more better 1 
Than Prospero, master of a full poor cell, 2 
And thy no greater father. 

Mir. More to know 

Did never meddle with my thoughts. 3 

Pro. 'Tis time 

I should inform thee further. Lend thy hand, 
And pluck my magic garment from me. So ; 

[Lays down his mantle. 

Lie there my art.(A) Wipe thou thine eye ; have comfort. 
The direful spectacle of the wreck, which touch'd 
The very virtue of compassion in thee, 
I have with such prevision in mine art 4 
So safely order'd, that there is no soul 
No, not so much perdition as an hair, 
Betid to any creature in the vessel 
Which thou heard'st cry, which thou saw'st sink. Sit 

down ; 
For thou must now know further. 

Mir. You have often . 

Begun to tell me what I am ; but stopp'd 
And left me to a bootless inquisition ; 
Concluding, Stay, not yet. 

Pro. The hour's now come ; 

The very minute bids thee ope thine ear ; 
Obey, and be attentive. Can'st thou remember 
A time before we came unto this isle ? 
I do not think thou can'st ; for then thou wast not 
Out three years old. 5 

1 more letter"] This un grammatical expression is very fre- 
quent amongst our oldest writers. 

2 full poor cell,] i.e., a cell in a great degree of poverty. 

3 Did never meddle with my thoughts.] i.e., mix with them. To 
meddle is often used with this sense by Chaucer. 

* in mine art.] The great magician had by his art foreseen 

that there should not be "so much perdition as an hair" among 
the whole crew. COLLIER. 

* Out three years old.] Quite three years old. 



SCENE ii.] THE TEMPEST. 13 

Mir. Certainly, sir, I can. 

Pro. By what ? By any other place or person ? 
Of any thing the image tell me, that 
Hath kept with thy remembrance ? 

Mir. 'Tis far off; 

And rather like a dream, than an assurance 
That my remembrance warrants : Had I not 
Four or five women once that tended me ? 

Pro. Thou had'st, and more, Miranda : 
Sixteen years, Miranda, sixteen years since, 
Thy father was the Duke of Milan, and 
A prince of power. 

Mir. O, the heavens ! 

What foul play had we, that we came from thence ? 

Pro. My brother, and thy uncle, called Antonio, 
I pray thee, mark me, that a brother should 
Be so perfidious ; he whom, next thyself, 
Of all the world I lov'd, and to him put 
The manage of my state ; as, at that time, 
Through all the signiories it was the first, 
And Prospero the prime duke ; being so reputed 
In dignity, and, for the liberal arts. 
Without a parallel ; those being all my study, 
The government I cast upon my brother, 
And to my state grew stranger, being transported 
And rapt in secret studies. Thy false uncle 
Thus having both the key 
Of officer and office, set all hearts 
To what tune pleas'd his ear ; that now he was 
The ivy, which had hid my princely trunk, 
And suck'd my verdure out on't. Thou attend'st not : 
I pray thee, mark me. 

Mir. O good Sir, I do. 

Pro. I thus neglecting worldly ends, 
In my false brother 
Awak'd an evil nature : 
Hence his ambition 
Growing, he needs will be 
Absolute Milan : Me, poor man ! my library 
Was dukedom large enough ; of temporal royalties 
He thinks me now incapable : confederates 



14 THE TEMPEST. [ACT i. 

(So dry he was for sway) 6 with the King of Naples, 
To give him annual tribute, do him homage ; 
Subject his coronet to his crown, and bend 
The dukedom, yet unbow'd (alas, poor Milan !) 
To most ignoble stooping. 

3 fir. O, the heavens ! 

Pro. This king of Naples, being an enemy 
To me inveterate, hearkens my brother's suit ; 
Which was, that he in lieu o' the premises, ~ 
Of homage, and I know not how much tribute, 
Should presently extirpate me and mine 
Out of the dukedom ; and confer fair Milan, 
With all the honours, on my brother : whereon, 
A treacherous army levy'd, one midnight 
Fated to the practise, 8 did Antonio open 
The gates of Milan ; and, i' the dead of darkness, 
The ministers for the purpose hurried thence 
Me, and thy crying self. 

Mir. Wherefore did they not 

That hour destroy us ? 

Pro. * **" My child, they durst not ; 

(So dear the love my people bore me) nor set 
A mark so bloody on the business : but 
With colours fairer painted their foul ends. 
In few, they hurried us aboard a bark ; 
Bore us some leagues to sea ; where they prepar'd 
A rotten carcase of a boat, not rigg'd, 
Nor tackle, sail, nor mast ;(B) the very rats 
Instinctively had quit it : there they hoist us, 
To cry to the sea that roar'd to us, 9 to sigh 
To the winds, whose pity, sighing back again, 
Did us but loving wrong. 



* So dry lie was for sway"] i.e., so thirsty. 

7 In lieu o* the premises, ] In lieu of, means here, in con- 
sideration of in exchange for. 

* Fated to the practise,] Shakespeare constantly uses the word 
practise, to denote contrivance, artifice, or conspiracy. COLLIER. 

9 To cry to the sea that roor'd to *,] The same idea occurs in The 
Wintri' s Tale, " How the poor souls roarV, and the seawiocAV them." 



SCENE ii.] THE TEMPEST. 15 

Mir. Alack ! what trouble 

Was I then to you. 

Pro. O ! a cherubim 

Thou wast, that did preserve me ! Thou diclst smile, 
Infused with a fortitude from heaven, 
Which rais'd in me 
A courage to bear up 
Against what should ensue. 

Mir. How came we ashore ? 

Pro. By Providence divine. 
Some food we had, and some fresh water, that 
A noble Neapolitan, Gonzalo, 
Out of his charity, (who being then appointed 
Master of this design), did give us ; with 
Rich garments, linens, stuffs, and necessaries, 
Which since have steaded much ; so, of his gentleness, 
Knowing I lov'd my books, he furnish'd me, 
From my own library, with volumes that 
I prize above my dukedom. 

Mir. 'Would I might 

But ever see that man. 

Pro. Now I arise : 

[Puts on his robe again (soft music). 
Sit still, and hear the last of our sea-sorrow. 
Here in this island we arriv'd ; and here 
Have I, thy school- master, made thee more profit 
Than other princes can, that have more time 
For vainer hours, and tutors not so careful. - 

Mir. Heavens thank you for't! And now, I pray you, sir, 
(For still 'tis beating in my mind) your reason 
For raising this sea-storm ? 

Pro. Know thus far forth. 

By accident most strange, bountiful fortune, 
Now my dear lady, 1 '' hath mine enemies 
Brought to this shore : and by my prescience 
I find my zenith doth depend upon 
A most auspicious star ; whose influence 
If now I court not, but omit, my fortunes 
AY ill ever after droop. Here cease more questions; 



10 



Xotv uiy dear lady,] Fortune now my auspicious mistress. 



16 THE TEMPEST. [ACT i. 

Thou art inclin'd to sleep ; ? tis a good dullness, 

And give it way ; I know thou can'st not choose. 11 - 

[MIRANDA, sleeps (imisic ceases}, 
Come away, servant, come ; I am ready now : 
Approach, my Ariel ; come. [ARIEL appears. 

Ari. All hail, great master ! grave sir, hail ! I come 
To answer thy best pleasure ; be't to fly, 
To swim, to dive into the fire, to ride 
On the curl'd clouds ; to thy strong bidding, task 
Ariel, and all his quality. 

Pro. Hast thou, spirit, 

Performed to point 12 the tempest that I bade thee : 

Ari. To every article. 

I boarded the king's ship ; now on the beak, 1:i 
Now in the waist, 14 the deck, in every cabin, 
I flam'd amazement, (c) The fire, and cracks 
Of sulphurous roaring, the most mighty Neptune 
Seem'd to besiege, and make his bold waves tremble, 
Yea, his dread trident shake. Not a soul 
But felt a fever of the mad, 15 and play'd 
Some tricks of desperation : All, but mariners, 
Plung'd in the foaming brine, and quit the vessel, 15 
Then all a-fire with me : the king's son, Ferdinand, 
With hair up-staring (then like reeds, not hair) 
Was the first man that leap'd ; cried, Hell is empty, 
And all the devils are here. (D) 

Pro. Why, that's my spirit ! 

But was not this nigh shore ? 

Ari. Close by, my master. 

Pro. But are they, Ariel, safe ? 



11 / know Ihou can'sl not choose, ] As the art of Prosper^ 

has brought this sleepiness upon Miranda. 

- Performed to point] i. e. t to the minutest article. 

13 Beak,'] Forecastle. 

14 the waist,] The part between the quarter-deck and the 

forecastle. 

1 6 felt a fever of the mad,] f. <., not a soul but felt such a fever 

as madmen feel, when the frantic fit is upon them. 

10 quit the vessel,] Quit is here used for quitted. 



SCENE ii.] THE TEMPEST. 17 

Ari. Not a hair perish'd ; 

On their sustaining garments not a blemish, 17 
But fresher than before ; and as thou bad'st me, 
In troops I have dispersed them 'bout the isle ; 
The king's son have I landed by himself; 
Whom I left cooling of the air with sighs, 
In an odd angle of the isle, and sitting, 
His arms in this sad knot. 

Pro. Of the king's ship, 

The mariners, say, how thou hast disposed, 
And all the rest o' the fleet ? 

Ari. Safely iii harbour 

Is the king's ship ; in a deep nook she's hid : 
The mariners, all under hatches stow'cl, 
I have left asleep : and for the rest o' the fleet, 
Which I dispers'd, they all have met again; 
And all upon the Mediterranean flote, 
Bound sadly home for Naples ; 
Supposing that they saw the king's ship wreck'd, 
And his great person perish. 

Pro. Ariel, thy charge 

Exactly is performed ; but there's more work. _ 

Ari. Is there more toil ? Since thou dost give me 

pains, 

Let me remember thee what thou hast promis'd, 
Which is not yet perform'd me. 

Pro. How now, moody ? 

What is't thou can'st demand ? 

Ari. My liberty. 18 

Pro. Before the time be out ? no more. 

Ari. I pray thee 

Remember, I have done thee worthy service ; 
Told thee no lies, made no mistakings, serv'd 
Without or grudge, or grumblings : thou didst promise 
To bate me a full year. 

1 * 

17 On their sustaining yarments not n blemish,] Enduring-garments, 
which bore, without being injured, the drenching of the sea. 

1 * Whnt is't thou can'st demand ? 

My liberty.'] The spirits or familiars attending on magicians 
were always supposed to be impatient of confinement. 



18 THE TEMPEST. [ACT i. 

Pro. Dost thou forget 

From what a torment I did free thec ? (E) 
ATI. No. 

Pro. Thou dost ; and think'st 
It much, to tread the ooze of the salt deep ; 
To run upon the sharp wind of the north ; 
To do me business in the veins o' the earth, 
When it is bak'd with frost. 

Ari. I do not, sir. 

Pro. Thou liest, malignant thing ! Hast thou forgot 
The foul witch Sycorax, who, with age, and envy, 
Was grown into a hoop '? hast thou forgot her ? 
Ari. No, sir. 
Pro. Thou hast : Where was she born : speak ; 

tell me. 

Ari. Sir, in "Argier. 19 

Pro. O, was she so ? I must, 

Once in a month, recount what thou hast been, 
Which thou forget'st. This damn'd witch, Sycorax, 
For mischiefs manifold, and sorceries terrible 
To enter human hearing, from Argier, 
Thou know'st, was banish'd ; for one thing she did, 
They would not take her life : Is not this true ? 
Ari. Ay, sir. 

Pro. This blue-ey'd hag was hither brought with child, 
And here was left by the sailors : Thou, my slave, 
As thou report'st thyself, wast then her servant : 
And, for thou wast a spirit too delicate 
To act her earthy and abhorr'd commands, 
Refusing her grand bests, she did confine thee, 
By help of her more potent ministers, 
And in her most unmitigable rage, 
Into a cloven pine ; within which rift 
Imprison'd, thou didst painfully remain 
A dozen years ; within which space she died, 
And left thee there ; where thou didst vent thy groans, 
As fast as mill-wheels strike : Then was this island, 



1a Sir, in Argier.] Argier is the ancient English name for 
Algiers. 



SCENE EL] THE TEMPEST. 19 

(Save for the son that she did litter here, 

A freckled whelp, hag-born,) not honour'd with 

A human shape. 

Ari. Yes ; Caliban her son. 

Pro. Dull thing, I say so ; he, that Caliban, 
Whom now I keep in service. Thou best know'st 
What torment I did find thee in : thy groans 
Did make wolves howl, and penetrate the breasts 
Of ever-angry bears ; it was a torment 
To lay upon the damn'd, which Sycorax 
Could not again undo ; it was mine art, 
When I arriv'd, and heard thee, that made gape 
The pine, and let thee out. 

Ari. I thank thee, master. 

Pro. If thou more murmur'st, I will rend an oak, 
And peg thee in his knotty entrails, till 
Thou hast howFd away twelve winters. 

Ari. Pardon, master : 

I will be correspondent to command, 
And do my spiriting gently. 

Pro. Do so ; and after two days 

I will discharge thee. 

Ari. That's my noble master ! 

What shall I do ? say what ? what shall I do ? 

Pro. Go make thyself like to a nymph o' the sea ; 
Be subject to no sight but mine ; invisible 
To every eye-ball else. Go, take this shape, 
And hither come in't : hence, with diligence. 

[ARIEL disappears. 

Awake, dear heart, awake ! thou hast slept well ; 
Awake ! 

Mir. The strangeness of your story put 
Heaviness in me. 

Pro. Shake it off: Come on ; 
We'll visit Caliban, my slave, who never 
Yields us kind answer. 

Mir. ? Tis a villain, sir, 

I do not love to look on. 

Pro. But, as 'tis, 



20 THE TEMPEST. [ACT i. 

We cannot miss him : M he does make our fire, 
Fetch in our wood : and serves in offices 
That profit us. What, ho ! slave ! Caliban ! 
Thou earth, thou ? speak. 

Cal. (within.'} There's wood enough within. 

Pro. Come forth, I say ; there's other business for thee : 
Come forth, thou tortoise ! when ? 2I 

[ARIEL rises from the sea like a water nymph. 
Fine apparition ! My quaint Ariel, 23 
Hark in thine ear. 

Ari. My lord, it shall be done. [ Floats away. 

Pro. Thou poisonous slave, got by the devil himself 
Upon thy wicked dam, come forth ! 

Enter CALIBAN (F) from Cavern. 

Cal. As wicked dew 23 as e'er my mother brush* d 
With raven's leather from unwholesome fen, 
Drop on you both ! a south-west blow on ye, 
And blister you ail o'er ! 

Pro. For this, be sure, to-night thou shalt have cramps, 
Side-stitches that shall pen thy breath up ; urchins 24 
Shall, for that vast of night that they may work, 25 
All exercise on thee : thou shalt be pinch'd 
As thick as honey-combs, each pinch more stinging 1 
Than bees that made them. 

Cal. I must eat my dinner. 

This island's mine, by Sycorax my mother, 
Which thou tak'st from me. When thou earnest first, 



a We cannot miss him :] i. e. y we cannot do without him. 

21 whe.n?~\ An expression of great impatience, equivalent 

to " when will sucli a. thing be done r" 

22 My quaint Ariel,'] Quaint means brisk, spruce, dexterous, 

from the French cointe. 

" 3 As wicked dew] Wicked, having baneful qualities so Spencer 
says, ividied weed. 

2 * urchins] Urchins sometimes mean hedge-hogs, but it is 

probable that in this place they denote fairies or spirits. 

25 for that vast of night (hat they may ivorl;,~\ So ill Hamlet 

*' In the dead n-<nte and middle of the night." 



SCENE ii.] THE TEMPEST. 21 

Thou strok'dst me, and mad'st much of me : would'st give 

me 

Water with berries in't ; and teach me how 
To name the bigger light, and how the less, 
That burn by day and night : and then I lov'J thee, 
And show'd thee all the qualities o' the isle, 
The fresh springs, brine pits, barren place, and fertile ; 
Cursed be I that did so ! All the charms 
Of Sycorax, toads, beetles, bats, light on you ! 
For I am all the subjects that you have, 
Which first was mine own king : and here you sty me 
In this hard rock, whiles you do keep from me 
The rest of the island. 

Pro. Thou most lying slave, 

Whom stripes may move, not kindness : I have us'd thee, j_V> 
Filth as thou art, with human care ; and lodg'd thee 
In mine own cell, till thou didst seek to abuse 
My gentle child. I pitied thee, 

Took pains to make thee speak, taught thee each hour 
One thing or other : when thou didst not, savage, 
Know thine own meaning, but would' st gabble like 
A thing most brutish, I endow'd thy purposes 
With words that made them known. 

Gal. You taught me language ; and my profit on't 
Is, I know how to curse : The red plague rid you 
For learning me your language ! 

Pro. Hag-seed, hence ! 

Fetch us in fuel ; and be quick, th' wert best, 
To answer other business. Shrug'st thou, malice ? 
If thou neglect'st, or dost unwillingly 
What I command, I'll rack thee with old cramps ; 
Fill all thy bones with aches ; make thee roar, 
That beasts shall tremble at thy din. 

Cal. No, pray thee ! 

I must obey : his art is of such power, [Aside. 

It would control my dam's god Setebos, 26 
And make a vassal of him. 



= G Setebos,'] Setebos, the supreme God of the Patagonians, 
is mentioned in Magellan's voyage as a frightful horned monster. 



22 THE TEMPEST. [ACT i. 

Pro. So, slave ; hence ! 

[Exit CALIBAN. 

ARIEL floats across the sands, playing; FERDINAND 
following. 

SONG AND CHORUS BY INVISIBLE SPIRITS. 

Come unto these yellow sands, 

And then take hands : 
Foot it featly here and there ; 
And, sweet sprites, the burden bear. 

Hark, hark ! 

The watch-dogs bark : 

Hark, hark ! I hear 
The strain of chanticlere. 

Fer. Where should this music be ? i' the air, or the 

earth ? 

It sounds no more : and sure, it waits upon 
Some god of the island. Sitting on a bank, 
Weeping again the king my father's wreck, 
This music crept by me upon the waters ; 
Allaying both their fury, and my passion, 
With its sweet air : thence I have follow'd it, 
Or it hath drawn me rather : But His gone. 

[Chorus recommences. 
No, it begins again. 

SONG AND CHORUS. 

Full fathom five thy father lies ; 
Of his bones are coral made ; 
Those are pearls, that were his eyes : 

Nothing of him that doth fade, 
But doth suffer a sea-change 
Into something rich and strange. 
Sea-nymphs hourly ring his knell : 
Hark ! now I hear them, ding-dong, bell. 

Burden, ding-dong. 

Fer. The ditty does remember my drown'd father : 
This is no mortal business, nor no sound 
That the earth owns. 



SCENE n.] THE TEMPEST. 23 

Pro. The fringed curtains of thine eye advance, 
And say, what thou seest yond'. 

Mir. What is't ? a spirit r 

Lord, bow it looks about ! Believe me, sir, 
It carries a brave form : But 'tis a spirit. 

Pro. No, wench ; it eats and sleeps, and Lath such 

senses 

As we have, such : This gallant, which thou seest, 
Was in the wreck ; and but he's something stain' d 
With grief, that's beauty's canker, thou might'st call him 
A goodly person : he hath lost his fellows, 
And strays about to find them. 

Mir. I might call him 

A thing divine ; for nothing natural. 
I ever saw so noble. 

Pro. It goes on, \_Aside. 

As my soul prompts it : Spirit, fine spirit, I'll free thee 
Within two days for this. 

Fer. Most sure, the goddess \JKneeh. 

On whom these airs attend ! Vouchsafe, my prayer 
May know, if you remain upon this island ; 
And that you will some good instruction give, 
How I may bear me here : My prime request, 
Which I do last pronounce, is, O you wonder ! 
If you be maid, or no ? 

Mir. No wonder, sir ; 

But, certainly a maid. 

Fer. (rising} My language ! heavens ! 

I am the best of them that speak this speech, 
Were I but where 'tis spoken. 

Pro. How! the best? 

What wert thou, if the King of Naples heard thee ? 

Fer. A single thing, as I am now, that wonders 
To hear thee speak of Naples : He does hear me ; 
And, that he does, I weep : myself am Naples ; 
Who with mine eyes, ne'er since at ebb, beheld 
The king my father wreck'd. 

Mir. Alack, for mercy ! 

Fer. Yes, faith, and all his lords, 

Pro. At the first sight [<dside. 



24 THE TEMPEST. [ACT i- 

They have chang'd eyes r 7 Delicate Ariel, 

I'll set thee free for this ! a word, good sir : 

I fear, you have done yourself some wrong, 28 a word. 

Mir. Why speaks my father so ungently? This 
Is the third man that e'er I saw ; the first 
That e'er I sigh'd for : pity move my father 
To be inclined my way ! 

Fer. O, if unmarried, 

And your affection not gone forth, I'll make you 
The Queen of Naples. 

Pro. Soft, sir ; one word more. 

They are both in either s powers : but this swift business 
I must uneasy make, lest too light winning {^Asidc. 

Make the prize light. One word more ; I charge thee, 
That thou attend me : thou dost here usurp 
The name thou own'st not ; and hast put thyself 
Upon this island, as a spy, to win it 
From me, the lord on't. 

Fer. No. as I am alive. 

Mir. There's nothing ill can dwell in such a temple : 
If the ill spirit have so lair a house, 
Good things will strive to dwell with't. 

Pro. Follow me. \_To FERDINAND. 

Speak not you for him : he's a traitor. Come. 
I'll manacle thy neck and feet together : 
Sea- water shalt thou drink, thy food shall be 
The fresh-brook muscles, wither'd roots, and husks 
Wherein the acorn cradled : Follow. 

Fer. No ; 

I will resist such entertainment, till 
Mine enemy has more power. 

[He draws his stvord, and is charmed from moving. 



- ' They Jmi-e cJtany'J <-t/es:] The mutual transposition of self-love, 
or transfer of personal 'identity, at sight of the beloved object. 

- 8 I fear, you have dune yourself some wrong,'} i.e., I fear that in 
asserting yourself to be King of Naples, you have uttered a false- 
hood, which is below your character, and consequently, injurious 
to your honor. So, in the Merry Wives of Windsor " This is 
not well, Master Ford, this icroiH/s you.'" STEEVENS. 



SCENE ii.] THE TEMPEST. 25 

Mir. O dear father, 

Make not too rash a trial of him, for 
He's gentle, and not fearful. 29 

Pro. What, I say, 

My foot my tutor ! 31 Put thy sword up, traitor ; 
Who mak'st a shew, but dar'st not strike, thy conscience 
Is so possessed with guilt : come from thy ward ; 31 
For I can here disarm thee with this stick, 
And make thy weapon drop. 

Mir. Beseech you, father ! 

Mir. Hence ; hang not on my garments. 

Mir. Sir, have pity ; 

I'll be his surety. 

Pro. Silence : one word more 

Shall make me chide thee, if not hate thee. What ! 
An advocate for an impostor ? hush ! 

Come on ; obey: [To FERDINAND. 

Thy nerves are in their infancy again, 
And have no vigour in them. 

Fer. So they are : 

My spirits, as in a dream, are all bound up. 32 
My father's loss, the weakness which I feel, 
The wreck of all my friends, or this man's threats, 
To whom I am subdu'd, are but light to me, 
Might I but through my prison once a day 
Behold this" maid : all corners else o' the earth 
Let liberty make use of; space enough 
Have I, in such a prison. [ARIEL appears again. 



2 9 He's gentle, and not fearful.'} The probable meaning of this 
line is, "He's noble and not timorous he will not tamely bear an 
insult." 

30 My foot my tutor /] Shall my heel teach my head? Shall 
that which I tread upon give me law ? 

31 come from thy ward;] Desist from any hope of awing 

me by that posture of defence. JOHNSOX. 

" 3 My spirits, as in a dream, are all bound up.~\ Alluding to a 
common sensation in dreams, when we struggle, but with a total 
impuissance in our endeavors, to run, strike, &c. WARBURTOX. 



26 THE TEMPEST. [ACT i. 

Pro. It works : Come on. 

Thou hast done well, fine Ariel ! Follow me. 

\_2^o FERDINAND and MIRANDA. 
Hark, what thou else shalt do me. [To ARIEL. 

31ir. Be of comfort; 

My father's of a better nature, sir, 
Than he appears by speech ; this is unwonted, 
Which now came from him. 

Pro. Thou shalt be as free 

As mountain winds : but then exactly do 
All points of my command. 

Ari. To the syllable. 

Pro. Come, follow: speak not for him. [JExeunt. 



DISTANT CHORUS OF SPIRITS. 



JEND OF ACT FIRST. 



ACT i.] THE TEMPEST. 27 



HISTORICAL NOTES TO ACT FIRST. 



(A) Lie there my art.] Sir Will Cecil, Lord Burleigh, Lord High 
Treasurer in the reign of Queen Elizabeth, when he put off his 
gown at night, used to say, Lie there, lord treasurer. Fuller's Holy 
'State, p. 257. 

(B) A rotten carcase of a boat, not rigg*d, 
JN T or tackle, sail, nor mast ;] 

In the British Museum there is a French copy of an ancient 
romance, entitled the Geste of King Horn. One might almost 
conclude that some English translation of it existed in Shakespeare's 
time, and that he had in the above passage imitated the following 
description of the boat, in which Horn and his companions were 
put by king Rodmund at the suggestion of Browans : " Sir, said 
he, take one of your old boats, put into it these varlets whom I 
see here ; let them have no oars to help them, sail nor rudder to 
put them in motion." Illustrations of Shakespeare, by Francis Douce. 

(c) Ifiamd amazement,} There is a meteor known to sailors, and 
called by the several names of the fire of Saint Helen, Saint Elm, 
Saint Herm, Saint Clare, Saint Peter, and Saint Nicholas. "When- 
ever it appeared as a single flame it was supposed by the ancients 
to be Helena, the sister of Castor and Pollux, and in this state to 
bring ill luck, from the calamities which this lady is known to 
have caused in the Trojan war. When it came double it was 
called Castor and Pollux, and accounted a good omen. It has 
been described as a little blaze of fire, sometimes appearing by 
night on the tops of soldiers' lances, or at sea on masts and sail- 
yards, whirling and leaping in a moment from one place to another. 
Some have said, but erroneously, that it never appears but after a 
tempest. It is also supposed to lead people to suicide by drowning. 
Shakespeare seems to have consulted Stephen Batman's Golden 
Booke oj the leaden Goddes, who, speaking of Castor and Pollux, says 
"they were figured like two lampes or cresset lightes, one on the 
toppe of a maste, the other on the stemme or foreshippe." He 
adds, that if the light first appears in the stem or foreship and 
ascends upwards, it is good luck ; if either lights begin at the top- 
mast, bowsprit, or foreship, and descend towards the sea, it is a sign 
of tempest. In taking therefore the latter position, Ariel had 
fulfilled the commands of Prospero to raise a storm. Douce. 

(D) And all the devils are here.'] It is exceedingly probable that the 



28 THE TEMPEST. [ACT r. 

outline of a considerable part of this play was borrowed from the 
voyage of Sir George Sommers to the Bermudas, in the year 
1609, where he was shipwrecked. Several contemporary narratives 
of the above event were published, which Shakspeare might have 
consulted ; and the conversation of the time might have furnished, 
or at least suggested, some particulars that are not to be found in. 
any of the printed accounts. In 1610 Silvester Jourdan, an eye- 
witness, published A ditcovery of the Bermudas, otherwise called the 
ISLE OF DIVELS : Bif Sir Thomas Giifes, Sir Geo. Sommers, and Cap- 
tayne Neirport, with divers others. Next followed Strachey's Pro- 
ceedings of the English colonie in Virginia 1612, 4tO, and some Other 
pamphlets of less moment. From these accounts it appears that 
the Bermudas had never been inhabited, but regarded as under the 
influence of inchantment ; though an edition to a subsequent edition 
of Jourdan' s work gravely states that they are not inchanted ; that 
Sommer's ship had been split between two rocks ; that during his 
stay on the island several conspiracies had taken place ; and that a 
sea-monster in shape like a man had been seen, who had been so 
called after the monstrous tempests that often happened at Bermuda, 
In Stowe's Annals we have also an account of Sommer's ship- 
wreck, in which this important passage occurs : " Sir George Som- 
mers sitting at the stearne, seeing the ship desperate of reliefe, 
looking every minute when the ship would sinke,hee espied land, 
which according to his and Captaine Newport's opinion, they 
judged it should be that dreadfull coast of the Bermodes, which, 
iland were of all nations said and supposed to bee inchanted and in- 
habited with witches and devills, which grew by reason of accustomed 
monstrous thunder, storm and tempest, neere unto those ilands, 
also that for the whole coast is so wonderous dangerous of rockes, 
that few can approach them, but with unspeakable hazard of 
ship-wrack." Now if some of these circumstances in the ship- 
wreck of Sir George Sommers be considered, it may possibly turn 
out that they are " the particular and recent event which determin- 
ed Shakspeare to call his play The Tempest." Douce. 

(E) Dost thou forget from what a torment I did free thee ?] That the 
character and conduct of Prospero may be understood, something 
must be known of the system of enchantment, which supplied all 
the marvellous found in the romances of the middle ages. This 
system seems to be founded on the opinion that the fallen spirits, 
having different degrees of guilt, had different habitations allotted 
them at their expulsion, some being confined in hell, some (as 
Hooker, who delivers the opinion of our poet's age, expresses it, 
dispersed in air, some on earth, some in icater, others in caves, dens, or 
minerals under the earth. Of these, some were more malignant and 
mischievous than others. The earthly spirits seem to have been, 
thought the most depraved, and the aerial the less vitiated. Thus 
Prospero observes of Ariel : 

Thou wast a spirit too delicate 

To act her earthy and abhorrd commands. 



ACTS i.] THE TEMPEST. 29 

Over these spirits a power might be obtained by certain rites per- 
formed or charms learned. This power was called The Black Art, 
or Knowledge of Enchantment. The enchanter being (as King James 
observes in. his Demonology) one wlto commands Ike devil, ichcreas the 
witch serves him. Those who thought best of this art, the existence 
of which was, I am afraid, believed very seriously, held, that 
certain sounds and characters had a physical power over spirits, 
and compelled their agency ; others, who condemned the practice, 
which in reality was surely never practised, were of opinion, with 
more reason, that the power of charms arose only from compact, 
and was no more than the spirits voluntarily allowed them for the 
seduction of man. The art was held by all, though not equally 
criminal, yet unlawful, and therefore Casaubon, speaking of one 
who had commerce with spirits, blames him, though he imagines 
him one of the best kind, who dealt with them by way of command. Thus 
Prospero repents of his art in the last scene. The spirits were 
always considered as in some measure enslaved to the enchanter, 
at least for a time, as serving with unwillingness ; therefore 
Ariel so often begs for liberty ; and Caliban observes, that the 
spirits serve Prospero with no good will, but luite him rooledly. 
Of these trifles enough. Johnson. 

(F) Enter Caliban, ,] In the British Museum is preserved a 
translation by John Florio (1603), of Montaigne's Essays, in which 
Shakespeare's autograph is inscribed, thereby affording probability 
that this identical volume was once the property of the great poet. 

The chapter on Canniballes affords undoubted evidence that 
Shakespeare was acquainted with the work, as a speech of Gonzalo's, 
act 2nd, scene 1st (omitted in represent atiori) t \$> almost literally copied 
from Montaigne's descriptions of a newly discovered country 
(chap. 30) and it is not unlikely that (according to Dr. Farmer's 
opinion) by transposing the letters of the woid Canibal, Shakes- 
peare formed the name of Caliban. 



30 THE TEMPEST. [ACT n. 



ACT II. 

SCENE I. INTERIOR OF THE ISLAND. 

Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, 
FRANCISCO, and others. 

Gon. Beseech you, sir, be merry: you have cause 
(So have we all) of joy : for our escape 
Is much beyond our loss : but for the miracle, ._ 
I mean our preservation, few in millions 
Can speak like us ; then wisely, good sir, weigh 
Our sorrow with our comfort. 

Alo. Pr'ythee, peace. 

Gon. Well, I have done. 

A.dr. Though this island seem to be desert, 
Uninhabitable, and almost inaccessible. 
It must needs be of subtle, tender, and delicate temperance. 1 
The air breathes upon us here most sweetly. 

Gon. But the rarity of it is (which is, indeed, almost be- 
yond credit) that our garments being, as they were, drench'd 
in the sea, hold, notwithstanding their freshness and glosses ; 
being rather new dy'd, than stain'd with salt water, and are 
now as fresh as when we put them on first in Africk, at the 
marriage of the king's fair daughter Claribel, to the King of 
Tunis. 

Seb. 'Twtis a sweet marriage, and we prosper well in our 
return. 

Gon. Sir, we were talking, that our garments seem now 
as fresh as when we were at Tunis, at the marriage of your 
daughter, who is now queen. Are not, sir, my garments as 
fresh as the first day I wore them, at your daughter's mar- 
riage ? 

1 delicate lanperanct.~\ Soft temperature. 



SCENE i.] THE TEMPEST. 31 

Alo. You cram these words into mine ears, against 
The stomach of my sense : Would I had never 
Marry'd my daughter there ! for, coming thence, 
My son is lost. O, thou, mine heir 
Of Naples and of Milan. 

Fra. Sir, he may live. 

I saw him beat the surges under him, 
And ride upon their hacks. I do not doubt, 
He came alive to land. 

Alo. No, no, he's gone. 

Seb. Sir, you may thank yourself for this great loss ; 
That would not bless our Europe with your daughter, 
But rather lose her to an African ; 
We have lost your son, 
I fear, for ever : the fault's your own. 

Alo. So is the dearest of the loss. 

Gon. My Lord Sebastian, 
The truth you speak doth lack some gentleness, 
And time to speak it in : you rub the sore, 
W 7 hen you should bring the plaster. 

Enter ARIEL invisible. Solemn music. 

Ant. Nay, my good lord, be not angry. 

Gon. No, 1 warrant you; I will not adventure my dis- 
cretion so weakly. Will you laugh me asleep, for I am 
very heavy ? 

Ant. Go sleep, and hear us. 

\_All sleep but ALONSO, SEBASTIAN, and ANTONIO. 

Alo. What, all so soon asleep ! I wish mine eyes 
Would, with themselves, shut up my thoughts : 1 find, 
They are inclined to do so. 

Seb. Please you, sir, 

Do not omit the heavy offer of it : 
It seldom visits sorrow ; when it doth, 
It is a comforter. 

Ant. We two, my lord, 

Will guard your person, while you take } our rest, 
And watch your safety. 

Alo. Thank you, Wond'rous heavy. 

[ALONSO sleeps. Exit ARITX. 

Seb. What a strange drowsiness possesses them ! 



32 THE TEMPEST. [ACT 11. 

Ant. It is the quality o' the climate. 

Seb. Why 

Doth it not, then, our eye-lids sink ? I find not , 

Myself dispos'd to sleep. 

Ant. Nor I ; my spirits are nimble. 

They fell together all as hy consent ; 
They dropp'd, as by a thunder-stroke. What might, 
Worthy Sebastian ? O, what might ? No more : 
And yet, methinks, I see it in thy face, 
What thou should'st be : the occasion speaks thee ; and 
My strong imagination sees a crown 
Dropping upon thy head. 

Seb. What, art thou waking ? 

Ant. Do you not hear me speak? 

Seb. I do. lYythen, say on : 

The setting of thine eye, and check, proclaim 
A matter from thee ; and a birth, indeed, 
Which throes thee much to yield. 

Ant. Thus, sir ; 

Although this lord hath almost persuaded 
The king his son's alive ; 'tis as impossible 
That he's undrown'd, as he that sleeps here swims. 

Seb. I have no hope 
That he's undrown'd. 

Ant. O, out of that no hope, 

What great hope have you ! 
Will you grant, with me, 
That Ferdinand is drown' d ? 

Seb. He's gone. 

Ant. Then, tell me, 

Who's the next heir of Naples? 

Seb. Claribel. 

Ant. She that is Queen cf Tunis ; she that dwells 
Ten leagues beyond man's life. 2 Say, this were death 
That now hath seiz'd them ; why, they were no worse 
Than now they are : There be, that can rule Naples, 
As well as he that sleeps ; 



* Ten leagues leyond man's //>.] i.e., at a greater distance than 
the life of man is long enough to reach. 



SCENE i.] THE TEMPEST. 33 

O, that you bore 

The mind that I do ; what a sleep were this 

For your advancement ! Do you understand me ? 

Seb. Methinks I do. 

Ant. And how does your content 

Tender your own good fortune ? 

Seb. I remember, 

You did supplant your brother Prospero. 

Ant. True : 

And, look, how well my garments sit upon me ; 
Much feater than before : My brother's servants 
Were then my fellows, now they are my men. 

Seb. But, for your conscience 

Ant. Ay, sir ; where lies that ? But I feel not \j 
This deity in my bosom: twenty consciences, 
That stand 'twixt me and Milan, candy'd be they, 
And melt, ere they molest ! 3 Here lies your brother, 
No better than the earth he lies upon, 
If he were that which now he's like ; whom I, 
With this obedient steel, three inches of it, 
Can lay to bed for ever : whiles you, doing thus, 
To the perpetual wink for aye* might put 
This ancient morsel, 5 this sir Prudence, who 
Should not upbraid our course. 

Seb. Thy case, dear friend, 

Shall be my precedent ; as thou got'st Milan, 
I'll come by Naples. Draw thy sword : one stroke 
Shall free thee from the tribute which thou pay'st : 
And I the king shall love thee. 

Ant. Draw together : 



3 twenty consciences, 

That stand 'Iwixt me and Milan, candy'd be (hey, 
And melt, ere they molest.] 

Let twenty consciences be first congealed, and then dissolved, 
ere they molest me, or prevent me from executing my purpose. 
MALONE. 

4 for aye] for ever. 

6 This ancient morsel,'] This aged piece of a man in allusion to 
Gonzalo. 

c 



31 THE TEMPEST. [ACT ir. 

And when I rear my hand, do you the like 
To fall it on Gonzalo. 

Seb. O, but one word. 

\_They converse apart. 

Music. Re-enter ARIEL, invisible. 

Ari. My master, through his art, foresees the danger 
That these, his friends, are in ; and sends me forth, 
(For else his project dies), to keep them living. 6 

\_Sings in GONZALO'S ear. 

While you here do snoring lie, 
Open-ey'd conspiracy 

His time doth take : 
If of life you keep a care, 
Shake off slumber, and beware : 

Awake ! awake ! 

Ant. Then let us both be sudden. 

Gon. Now, good angels, preserve the king ! 

\_They wake. 

Alo. Why, how now, ho! awake ! Why are you drawn ! 7 
Wherefore thus ghastly looking ? 

Gon. What's the matter ? 

Seb. Whiles we stood here securing your repose, 
Even now, we heard a hollow burst of bellowing, 
Like bulls, or rather lions ; did it not wake you ? 
It struck mine ear most terribly. 

Alo. I heard nothing. 

Heard you this, Gonzalo ? 

Gon. Upon mine honour, sir, I heard a humming, 
And that a strange one, too, which did awake me : 
I saw their weapons drawn : there was a noise, 
That's verity : 'Best stand upon our guard ; 
Or that we quit this place : let's draw our weapons. 

Alo. Lead off this ground ; and let's make further search 
For my poor son. 

G to keep them living.'] To preserve their lives. 

7 Why are you drawn ?] Having your swords drawn. 



SCENE i.] THE TEMPEST. 35 

Gon. Heavens keep him from these beasts ! 

For he is, sure, i' the island. 

Alo. Lead away. [Exeunt. 

Art. Prospero my lord shall know what I have done. 

[Aside. 
So, king, go safely on to seek thy son. 

[Flies away. 

Enter CALIBAN with a burden of loood. 
A noise of thunder heard. 

Cal. All the infections that the sun sucks up 
From bogs, fens, flats, on Prosper fall, and make him 
By inch-meal a disease ! His spirits hear me, 
And yet I needs must curse. But they'll nor pinch, 
Fright me with urchin shows, pitch me i' the mire, 
Nor lead me, like a fire-brand, in the dark 
Out of my way, unless he bid them ; but 
For every trifle are they set upon me : 
Sometimes like apes, that moe 8 and chatter at me, 
And after, bite me ; then like hedge-hogs, which 
Lie tumbling in my bare-foot way, and mount 
Their prickles at my foot-fall ; sometime am I 
All wound with adders, 9 who, with cloven tongues, 
Do hiss me into madness : Lo ! now ! lo ! 
Here comes a spirit of his ; and to torment me, 
For bringing wood in slowly ; I'll fall flat ; 
Perchance, he will not mind me. 

Enter TKHSTCTTLO. 

Tri. Here's neither bush nor shrub, to bear off any 
weather at all, and another storm brewing ; I hear it sing i' 
the wind : yond' same black cloud, yond' huge one, looks like 
a foul bombard 10 that would shed his liquor. If it should 



8 that moe] Make mouths at me. 

9 wound with adders,] Enwrapped by adders, wound or 

twisted about me. 

1 looks like a foul bombard] The word bombard means a large 
vessel for holding drink, as well as the piece of ordnance so called. 

c 2 



36 THE TEMPEST. [ACT it. 

thunder, as it did before, I know not where to hide my head : 
yond' same cloud cannot choose but fall by pailfuls. What 
have we here ? a man or a fish ? Dead or alive ? A fish : 
he smells like a fish ; a very ancient and fish-like smell ; a 
kind of, not of the newest. Poor- John. 11 A strange fish ! 
Legg'd like a man ! and his fins like arms ! Warm o' my 
troth ! I do now let loose my opinion, hold it no longer ; 
this is no fish, but an islander, that hath lately suffer' d by a 
thunder-bolt. [Thunder. ~\ Alas! the storm is come again ; 
my best way is to creep under his gaberdine ; 12 there is no 
other shelter hereabout : Misery acquaints a man with 
strange bedfellows : I will here shroud, till the drench of 
the storm be past. 

A STORM TAKES PLACE. 

Enter STEPHA.NO, singing. 

Ste. I shall no more to sea, to sea, 

Here shall I die a-shore ; 

This is a very scurvy tune to sing at a man's funeral : Well, 
here's my comfort. [Drinks. 

The master, the swabber, the boatswain, and I, 

The gunner, and his mate, 
Lov'd Mall, Meg, and Marian, and Margery, 

But none of us car'd for Kate : 
For she had a tongue with a tang, 
Then to sea, boys, and let her go hang. 
This is a scurvy tune, too : But here's my comfort. 

[Drinks. 

Cal. Do not torment me : O ! 

Ste. What's the matter ! Have we devils here ? Do 
you put tricks upon us with savages, and men of Inde ? 
Ha ! I have not 'scaped drowning, to be afeard now of your 
four legs ; for it hath been said, as proper a man as ever 
went on four legs, cannot make him give ground : and it 
shall be said so again, while Stephano breathes at nostrils. 

1 1 Poor- John.'] A coarse kind of fish, salted and dried. The 
fish itself is called also hake. NARES'S GLOSSARY. 

12 Gaberdine;'] The coarse frock, or outward garment of a 
peasant. 



SCENE i.] THE TEMPEST. 37 

Cal. The spirit torments me : O ! 

Ste. This is some monster of the isle, with four legs ; 
who hath got, as I take it, an ague : Where the devil 
should he learn our language ? I will give him some relief 
if it be hut for that : If I can recover him, and keep him 
tame, and get to Naples with him, he's a present for any 
emperor that ever trod on neat's-leather. 

Cal. Do not torment me, pr'ythee ; 
I'll bring my wood home faster. 

Ste. He's in his fit now ; and does not talk after the 
wisest. He shall taste of my bottle : if he have never 
drunk wine afore, it will go near to remove his fit ; If I can 
recover him, and keep him tame, I will not take too much 
for him ; 13 he shall pay for him that hath him, and that 
soundly. 

Cal. Thou dost me yet but little hurt ; thou wilt 
Anon, I know it by thy trembling ; u 
Now Prosper works upon thee. 

Ste. Come on your ways ; open your mouth ; here is that 
which will give language to you, cat ; la open your mouth : 
this will shake your shaking, I can tell you, and that soundly : 
you cannot tell who's your friend ; open your chaps again. 

Tri. I should know that voice : It should be But he is 
drown'd ; and these are devils : O ! defend me ! 

Ste. Four legs, and two voices ; a most delicate monster ! 
His forward voice now is to speak well of his friend ; his back- 
ward voice is to utter ibul speeches, and to detract. If all 
the wine in my bottle will recover him, I will help his ague : 
Come, Amen ! 16 I will pour some in thy other mouth. 

Tri. Stephano, 

Ste. Doth thy other mouth call me ? Mercy ! mercy ! 



18 I will not take too much for him;] Too much means, any sum, 
ever so much. 

14 I know it by thy trembling;] This tremor is always represented 
as the effect of being possessed by the devil. 

1 5 Cat ;] Alluding to an old proverb, that good liquor will make 
a c*t speak. 

1 6 Amen /] Means, stop your draught come to a conclusio 11 * 



38 THE TEMPEST. [ACT n. 

This is a devil, and no monster : I will leave him ; I have 
no long spoon. 17 

Tri. Stephano! if thou beest Stephano, touch me, 
and speak to me ; for I am Trinculo ; be not afeard, thy 
good friend Trinculo. 

Ste. If thou beest Trinculo, come forth ; I'll pull thee 
by the lesser legs : if any be Trinculo's legs, these are 
they. Thou art very Trinculo, indeed : How cam'st thou 
to be the siege 18 of this moon-calf? 19 

Tri. I took him to be kill'd with a thunder-stroke : 
But art thou not drown'd, Stephano ? I hope now, thou 
art not drown'd. Is the storm over-blown? I hid me 
under the dead moon's-calf's gaberdine, for fear of the 
storm : And art thou living, Stephano ? O Stephano, two 
Neapolitans 'scap'd ! 

Ste. Pr'ythee, do not turn me about ; my stomach is not 
constant. 

Gal. These be fine things, an if they be not sprites. 
That's a brave god, and bears celestial liquor : 
I will kneel to him. 

Ste. How did'st thou 'scape ? How cam'st thou hither ? 
swear by this bottle, how thou cam'st hither. I escap'd 
upon a butt of sack, which the sailors heav'd over-board, 
by this bottle ! Here ; swear then how thou escap'dst. 

Tri. Swam a-shore, man, like a duck ; I can swim like a 
duck, I'll be sworn. 

Ste. Here, kiss the book : Though thou canst swim like 
a duck, thou art made like a goose. 

Tri. O Stephano, hast any more of this ? 

Ste. The whole butt, man ; my cellar is in a rock by the 
sea-side, where my wine is hid. How now, moon-calf? 
how does thine ague ? 

Col. Hast thou not dropp'd from heaven ? 20 

17 7 have no long spoon.] Alluding to the proverb, a long spoon 
to eat with the devil. It may be fouud in Chaucer. 

18 Siege] Stool. 

19 Moon-calf.] An inanimate shapeless mass. 

20 Hast thou not dropp'd from heaven f] The newly-discovered 
Indians of the island of St. Salvador, asked, by signs, whether 
Columbus and his companions were not come down from heaven. 



SCENE i.] THE TEMPEST. 39 

Ste. Out o' the moon, I do assure thee : I was the man 
in the moon (A) when time was. 

Cal. I have seen thee in her, and I do adore thee. 

Ste. Come, swear to that : kiss the book : I will furnish 
it anon with new contents ; swear. 

Tri. By this good light, this is a very shallow monster : 
I afeard of him ? a very weak monster : The man i' the 
moon ? a most poor credulous monster : Well drawn, 
monster, in good sooth. 21 

Cal. I'll shew thee every fertile inch o' the island ; 
And kiss thy foot : I pr'ythee, be my god. 

Tri. By this light, a most perfidious and drunken mon- 
ster ; when his god's asleep, he'll rob his bottle. 

Cal. I'll kiss thy foot : I'll swear myself thy subject. 

Ste. Come on then ; down, and swear. 

Tri. I shall laugh myself to death at this puppy-headed 
monster : A most scurvy monster ! I could find in my heart 
to beat him, 

Ste. Come, kiss, 

Tri. but that the poor monster's in drink : An abomi- 
nable monster ! 

Cal. I'll shew thee the Best springs; I'll pluck thee 

berries ; 

I'll fish for thee, and get thee wood enough. 
A plague upon the tyrant that I serve ! 
I'll bear him no more sticks, but follow thee, 
Thou wond'rous man. 

Tri. A most ridiculous monster ; to make a wonder of a 
poor drunkard. 

Cal. I pr'ythee, let me bring thee where crabs grow ; 
And I with my long nails will dig thee pig-nuts ; 
Shew thee a jay's nest, and instruct thee how 
To snare the nimble marmozet ; I'll bring thee 
To clust'ring filberds, and sometimes I'll get thee 
Young sea-rnells 23 from the rock : Wilt thou go with me ? 



21 Well drawn, monster, in good sooth.] Caliban has just had 
another draught from Stephano's bottle of "celestial liquor," 
and Trinculo compliments him upon having taken so capital a 
41 pull," or " draw." 

22 Sea-metis.] A species of sea-gulls. 



40 THE TEMPEST. [ACT n. 

Ste. I pr'ythee now, lead the way, without any more 
talking. Triiiculo, the king and all our company else being 
drown'd, we will inherit here. Here ; bear my bottle. 
Fellow Trinculo, we'll fill him by and by a?ain. 
Cal. Farewell, master; farewell, farewell. 

[Sings drunkenly. 

Tri. A howling monster ; a drunken monster. 
. Cal. No more dams I'll make for fish ; 
Nor fetch in firing 
At requiring. 

Nor scrape trencher, nor wash dish : 
'Ban 'Ban, Ca Caliban, 
Has a new master Get a new man. 23 
Ste. O brave monster ' lead the way. \_Exeunt. 



23 Get a new man.'] In allusion to Prospero, who must 

new find a new servant, as he (Caliban) is about to serve a new 
master. 



END OF ACT SECOND. 



ACT ii.] THE TEMPEST. 41 



HISTORICAL NOTES TO ACT SECOND. 



(A) I ivas the man in the moon.'} This is a very old superstition, 
founded, as Mr. Ritsoii has observed, on Numbers xv. 32. See 
Ancient songs, p. 34. So far the tradition is still preserved amongst 
nurses and schoolboys ; but how the culprit came to be imprisoned 
in the moon, has not yet been accounted for. It should seem that 
he had not merely gathered sticks on the sabbath, but that he 
had stolen what he gathered, as appears from the following lines in 
Chaucer's Testament of Creseid, where the poet, describing the 
moon, informs us that she had 

" On her brest a chorle paiatcd fal even 
Bearing a bush of thorns on his backe, 
Which Jbr his theft might climb no ner the heven." 

Yv^e are to suppose that he was doomed to perpetual confinement 
in this planet, and precluded from every possibility of inhabiting 
the mansions of the just. With the Italians, Cain appears to 
have been the offender, and he is alluded to in a very extraordinary 
manner by Dante, in the twentieth canto of the Inferno, where the 
moon is described by the periphrasis Caino e le spine. One of the 
commentators on that poet says, that this alludes to the popular 
opinion of Cain loaded with the bundle of faggots ; but how he 
procured them we are not informed. The Jews have some Tal- 
mudical story that Jacob is in the moon, and they believe 
that his face is visible. The natives of Ceylon instead of a man, 
have placed a hare in the moon ; and it is said to have got there in 
the following manner : Their great Deity, Buddha, when a hermit 
on earth, lost himself one day in the forest. After wandering about 
in great distress he met a hare, who thus addressed him : " It is 
in my power to extricate you from your difficulty ; take the path 
on your right hand, and it will lead" you out of the forest." " I 
am greatly obliged to you, Mr. Hare," said Buddha, " but I am un- 
fortunately very poor and very hungry, and have nothing to offer 
you in reward for your kindness." " If you are hungry," returned 
the hare, " I am again at your service ; make a fire, kill me, roast me, 
and eat me." Buddha made the fire, and the hare instantly jumped 
into it. Buddha now exerted his miraculous powers, snatched the 
animal from the flames, and threw him into the moon, where he has 
ever since remained. This is from the information of a learned and 
intelligent French gentleman, recently arrived from Ceylon, who 
adds that the Cingalese would often request of him to permit them 



42 THE TEMPEST. [ACT u. 

to look for the hare through his telescope, and exclaim in raptures 
that they saw it. It is remarkable that the Chinese represent the 
moon by a rabbit pounding rice in a mortar. Their mythological 
moon Jut-ho is figured by a beautiful young woman with a double 
sphere behind her head, and a rabbit at her feet. The period of 
this animal's gestation is thirty days ; may it not therefore typify 
the moon's revolution round the earth ? Douce. 



SCENE i.] THE TEMPEST. 43 



ACT III. 

SCENE I. ANOTHER PART OF THE ISLAND. 

Enter FERDINAND, bearing a log. 

Per. There be some sports are painful ; but their labour 
Delight in them sets off i 1 This ray mean task would be 
As heavy to me, as 'tis odious ; but 
The mistress, which I serve, quickens what's dead, 
And makes my labours pleasures. 

Enter MIRA.NDA. 

Mir. Alas, now ! pray you, 
Work not so hard : I would, the lightning had 
Burnt up those logs, that you are enjoin'd to pile ! 

Fer. Dear mistress, 

The sun will set, before I shall discharge 
What I must strive to do. 

Mir. If you'll sit down, 

I'll bear your logs the while : Pray, give me that ; 
I'll carry it to the pile. You look wearily. 

Fer. No, noble mistress ; 'tis fresh morning with me, 
When you are by at night. I do beseech you 
(Chiefly, that I might set it in my prayers), 
What is your name ? 

Mir. Miranda : O my father, 

I have broke your hest 2 to say so ! 

Fer. Full many a lady 

I have ey'd with best regard. But you, O you, 



1 but their labour delight in tfiem sets off:"] The same thought 

is in Macbeth "The labour we delight in physicks pain." 

2 hest] For befast, i.e., command. 



44 THE TEMPEST. [A.CT in. 

So perfect, and so peerless, are created 
Of every creature's best. 3 

Mir. I would not wish 

Any companion in the world but you ; 
Nor can imagination form a shape, 
Besides yourself, to like of: But I prattle 
Something too wildly, and my father's precepts 
Therein forget. 

Fer. I am, in my condition, 

A prince, Miranda ; I do think, a king ; 
The very instant that I saw you, did 
My heart fly to your service ; 
And, for your sake, 
Am I this patient log-man. 

Mir. Do you love me ? 

Fer. O, heaven ! O, earth ! bear witness to this sound, 
Beyond all limit of what else i' the world,* 
I love, prize, honour you. 

Mir. I am a fool, 

To weep at what I am glad of. 

Fer. Wherefore weep you ? 

Mir. At mine unworthiness. 
But this is trifling ; 

And all the more it seeks 5 to hide itself, 
The bigger bulk it shows. Hence, bashful cunning ! 
And prompt me, plain and holy innocence ! 
I am your wife, if you will marry me ; 
If not, I'll die your maid : to be your fellow 6 
You may deny me ; but I'll be your servant, 
Whether you will or no. 

Fer. My mistress, dearest, 

And I thus humble ever. 
Here's my hand. 



8 Of every creature's best.] A collection of the best things pos- 
sessed by every other creature. 

* of what else i' the world,] i.e., of aught else; of whatever 

else there is in the world. 

6 it seeks] i.e., my affection seeks. 

6 to be your fellow'} i.e., companion. 



SCENE i.] THE TEMPEST. 45 

Mir. And mine, with my heart in't : And now, farewell, 
Till half an hour hence. 

Fer. A thousand ! thousand ! 

\_Exeunt FERDINAND and MIRANDA. 

Enter STEPHANO and TRINCULO ; CALIBAN following. 

Ste. Tell not me ; when the butt is out, we will drink 
water ; not a drop before : therefore bear up, and board 
J em : 7 Servant-monster, drink to me. 

Tri. Servant-monster ? the folly of this island ! They 
say, there's but five upon this isle : we are three of 
them ; if the other two be brain' d like us, the state 
totters. 

Ste. Drink, servant-monster, when I bid thee ; thy eyes 
are almost set in thy head. 

Tri. Where should they be set else ? he were a brave 
monster indeed, if they were set in his tail. 

Ste. My man-monster hath drown'd his tongue in sack : 
for my part, the sea cannot drown me : I swam, ere I could 
recover the shore, five-and-thirty leagues, off and on, by 
this light. Thou shalt be my lieutenant, monster, or my 
standard. 

Tir. Your lieutenant, if you list ; he's no standard. 8 

Ste. We'll not run, monsieur monster. 

Tri. Nor go neither : but you'll lie, like dogs ; and yet 
say nothing neither. 

Ste. Moon-calf, speak once in thy life, if thou beest a 
good moon-calf. 

Cal. How does thy honour ? Let me lick thy shoe : I'll 
not serve him, he is not valiant. 

Tri. Thou liest, most ignorant monster ; I am in case 
to justle a constable : Why, thou debauch'd fish thou, was 
there ever a man a coward, that hath drunk so much sack as 
I to-day ? Wilt thou tell a monstrous lie, being but half a 
fish and half a monster ? 



7 . and board 'em:] a metaphor alluding to a chase at sea. 

* he's no standard.'] Meaning, lie is so much intoxicated, as 
not to be able to stand. 



46 THE TEMPEST. [ACT in. 

Cal. Lo, how he mocks me! wilt thou let him, my 
lord ? 

Tri. Lord, quoth he ! that a monster should be such a 
natural ! 

Cal. Lo, lo, again ! bite him to death, I pr'ythee. 

Ste. Trinculo, keep a good tongue in your head ; if you 
prove a mutineer, the next tree The poor monster's my 
subject, and he shall not suffer indignity. 

Cal. I thank my noble lord. Wilt thou be pleas'd to 
hearken once again the suit I made thee ? 

Ste. Marry will I : kneel, and repeat it; I will stand, and 
so shall Trinculo. 

AEIEL appears. 

Cal. As I told thee 
Before, I am subject to a tyrant ; 
A sorcerer, that by his cunning hath 
Cheated me of the island. 

Ari. Thou liest. 

Cal. Thou liest, thou jesting monkey, thou ; 
I would, my valiant master would destroy thee : 
I do not lie. 

Ste. Trinculo, if you trouble him any more in his tale, by 
this hand, I will suppknt some of your teeth. 

Tri. Why, I said nothing. 

Ste. Mum then, and no more. 
Proceed. [To CALIBAN. 

Cal. I say, by sorcery he got this isle : 
From me he got it. If thy greatness will 
Revenge it on him for, I know, thou dar'st : 
But this thing dare not. 

Ste. That's most certain. 

Cal. Thou shalt be lord of it, and I'll serve thee. 

Ste. How now shall this be coinpass'd? Canst thou 
brin- me to the party ? 

Cal. Yea, yea, my lord ; I'll yield him thee asleep, 
Where thou may'st knock a nail into his head. 

Ari. Thou liest, thou canst not. 



acsxs i.] THE TEMPEST. 47 

Cal. What a py'd ninny's this ? 3 Thou scurvy patch ! 
I do beseech thy greatness, give him blows, 
And take his bottle from him : when that's gone, 
He shall drink nought but brine ; for I'll not shew him 
Where the quick freshes are. 

Ste. Trinculo, run into no further danger : interrupt the 
monster one word further, and, by this hand, I'll turn 
my mercy out of doors, and make a stock-fish of thee. 

Tri. Why, what did I r I did nothing ; I'll go further 
off. 

Ste. Didst thou not say, he lied ? 

Ari. Thou liest. 

Sts. Do I so ? take thou that. [Strikes him.'] As you 
like this, give me the lie another time. 

Tri. I did not give the lie : Out o'your wits, and hearing 

too ? A plague o' your bottle ! this can sack, and 

drinking do. A murrain on your monster, and the devil 
take your fingers ! 

Cal. Ha, Ha, Ha ! 

Ste. Now, forward with your tale. Pr'ythee stand further 
off. 

Cal. Beat him enough : after a little time, 
I'll beat him too. 

Ste. Stand further. Come, proceed. 

Cal. Why, as I told thee, 'tis a custom with him, 
I'the afternoon to sleep : there thou may'st brain him, 
Having first seized his books ; or with a log 
Batter his skull, or paunch him with a stake, 
Or cut his wezand 10 with thy knife : Remember, 
First to possess his books ; u for without them 
He's but a sot, as I am, nor hath not 
One spirit to command. 



What a py'd ninmfs this ?] In allusion to the party-coloured 
dress worn by Trinculo, the jester. 

10 Wezand] i.e., throat. 

1 Remember, first to possess his books /] In the old romances, the 
sorcerer is always furnished with a boot:, by reading certain parts 
of which he is enabled to summon to his aid whatever demons or 
spirits he has occasion to employ. When he is deprived of his 
look, his power ceases. 



48 THE TEMPEST. [ACT in. 

Ste. Monster, I will kill this man : his daughter and I 
will be king and queen ; (save our graces !) and Trinculo 
and thyself shall be vice-roys : Dost thou like the plot, 
Trinculo ? 

Tri. Excellent. 

Ste. Give me thy hand; I am sorry I beat thec: but, 
while thou liv'st, keep a good tongue in thy head. 

Cal. Within this half-hour will he be asleep ; 
Wilt thou destroy him then ? 

Ste. Ay, on mine honour. 

Ari. This will I tell my master. 

Cal. Thou mak'st me merry : I am full of pleasure ; 
Let us be jocund : Will you troll the catch l3 
You taught me but while-ere ? 

Ste. At thy request, monster, I will do reason, any 
reason : Come on, Trinculo, let us sing. [_Sings. 

Floufem, and skoufem; and shout* em, and flout 1 em ; 

Thought is free. 

Cal. That's not the tune. 

[ The tune is played on a tabor and pipe, by ARIEL 
invisible. 

Ste. What is this same ? 

Tri. This is the tune of our catch, played by the picture 
of No-body. 

Sle. If thou beest a man, shew thyself in thy likeness : if 
thou beest a devil, take 't as thou list. 

Tri. O, forgive me my sins ! 

Ste. He that dies pays all debts : I defy thee : Mercy 
upon us ! 

Cal. Art thou afeard? 13 

Ste. No, monster, not I. 

Cal. Be not afeard ; the isle is full of noises, 
Sounds, and sweet airs, that give delight, and hurt not. 
Sometimes a thousand twangling instruments 
Will hum about mine ears ; and sometime voices, 
That, if I then had wak'd after long sleep, 



13 'Will you troll the catch] Will you put about the song in 

a like jovial manner ? NARES. 

13 Art thou afear<n] To afear is an obsolete verb. 



SCKXE I. 



THE TEMPEST. 49 



Will make me sleep again : and then, in dreaming, 
The clouds, methought, would open, and shew riches 
Ready to drop upon me ; that, when I wak'd, 
I cry'd to dream again. 

Ste. This will prove a brave kingdom to me, where I 
shall have my music for nothing. 

Cal. When Prospero is destroy'd. 

Ste. That shall be by and by : I remember the story. 

Tri. The sound is going away ; let's follow it, and after, 
do our work. 

Ste. Lead, monster ; we'll follow. I would, I could see 
this taborer : he lays it on. Wilt come ? 

Tri. I follow, Stephano. [Exeunt. 

Entir ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, 
FRANCISCO, and others. 

Gon. 3y'r lakin, 14 1 can go no further, Sir; 
My old bones ache : here by your patience, 
I needs must rest me. 

Alo. Old lord, I cannot blame thee, 

Who am myself attach'd with weariness, 
To the dulling of my spirits : sit down, and rest. 
Even here I will put off my hope, and keep it 
No longer for my flatterer : he is drown'd, 
Whom thus we stray to find : and the sea mocks 
Our frustrate 15 search on land ; Well let him go. 

Ant. I am right glad that he's so out of hope. 

[Aside to SEBASTIAN. 
Do not, for one repulse, forego the purpose 
That you resolv'd to effect. 

Seb. The next advantage 

Will we take thoroughly. 

Ant. Let it be to-night ; 

For, now they are oppress'd with travel, they 
Will not, nor cannot, use such vigilance, 
As when they are fresh. 

Seb. I say to-night : no more. 

[Solemn Music. 

14 By'r lakin,] The dimunitive of our lady'; Id. est., Hdykin. 
18 Our frustrate search'] Frustrate frustrated. 
D 



50 THE TEMPEST. [ACT in. 

Alo. What harmony is this ? my good friends, hark ! 
Gon. Marvellous sweet music ! 

THE SCENE IS GRADUALLY TRANSFORMED FROM 

BARRENNESS TO LUXURIANT VEGETATION. 

AFTER -WHICH 

ENTER MANY STRANGE SHAPES, BEARING FRUIT 
AND FLOWERS, 

WITH WHICH THEY FORM A BANQUET, 

AND DISAPPEAR. 

Alo. Give us kind keepers, heavens ! 
What were these ! 

Fra. They vanish'd strangely. 

Seb. No matter, since 

They have left their viands behind ; for we have stomachs. 
Wil't please you taste of what is here ? 

Gon. If in Naples 
I should report this now, would they believe me ? 

Alo. I will stand to and feed, 
Although my last : no matter, since I feel 
The best is past : Brother, my lord the duke, 
Stand to, and do as we. 

THUNDER AND LIGHTNING. 

ARIEL rises like a Harpy. (A) 

Ari. You are three men of sin, whom destiny 
(That hath to instrument this lower world, 1G 
And what is in't) the never-surfeited sea 
Hath caused to belch up ; and on this island 
Where man doth not inhabit : you 'mongst men 
Being most unfit to live. 

[Seeing ALONSO, SEBASTIOX, ^c., draw their 

swords. ( Thunder.) 
You fools ! I and my fellows 
Are ministers of fate ; but, remember, 
(For that's my business to you,) that you three 
From Milan did supplant good Prospero ; 

18 That hath to instrument this lower world,] id rst. t that makes use 
of this world, and everything in it, as its instruments to bring 
about its ends. 



SCENE i.] THE TEMPEST. 51 

Expos' d unto the sea, which hath requit it, 

Him, and his innocent child : for which foul deed 

Ling'ring perdition (worse than any death 

Can be at once,) shall step hy step attend 

You, and your ways ; whose wraths to guard you from 

(Which here, in this most desolate isle, else falls 

Upon your heads,) is nothing, but heart's sorrow, 

And a clear life ensuing. 17 [He vanishes in thunder. 

Alo. O, it is monstrous ! monstrous ! 

Methought, the billows spoke, airl told me of it; 
The winds did sing it to me ; and the thunder, 
That deep and dreadful organ-pipe, pronounc'd 
The name of Prosper ; it did bass my trespass. 18 
Therefore my son i'the ooze is bedded ; and 
I'll seek him deeper than e'er plummet sounded, 
And with him there lie mudded. \_Exit. 

Seb. But one fiend at a time, 

I'll fight their legions o'er. 

Ant. I'll be thy second. 

[Exeunt SEBASTIAN and ANTONIO. 

Gon. All three of them are desperate ; their great guilt, 
Like poison given to work a great time after, (B) 
Now 'gins to bite the spirits : I do beseech you 
That are of suppler joints, follow them swiftly, 
And hinder them from what this ecstacy 19 
May now provoke them to. 

Adr. Follow, I pray you. 

[Exeunt. 

MUSIC. THE SHAPES, See., RE-APPEAR. 20 

DANCE. 

17 And a clear life ensuing.'] i. e., a miserable state, which nothing 
but contrition and amendment of life can avert. 

18 it did bass my trespass.] It gave the bass notes to my 

trespass. 

19 this ecslacy~\ Alienation of mind madness in this sense 

the word is now obsolete. 

20 Satyrs are described as always joining in the dances ami 
revels of nymphs. 

END OF ACT THIRD. 

D 2 



52 THE TEMPEST. [ACT in. 



HISTORICAL NOTES TO ACT THIRD. 



(A) Ariel rises like a Harpy."] Pantomimes were exhibited in 
France and Italy, and were known and instituted in this country. 

Flying, rising, and descending services were to be found at 
-entertainments given by the Duke of Burgundy, c., in 1453, and 
by the Grand Duke of 'Tuscany, in 1600, &c. 

(B) Like poisn given to work a. great time after,] The natives of 
Africa have been supposed to be possessed of the secret how to 
temper poisons with such art as not to operate till several years 
after they were administered. Their drugs were then as certain in 
their effect as subtle in their preparation. So, in the celebrated 
libel called Leicester's Commonwealth : " I heard him once myselfe 
in publique act at Oxford, and that in presence of my Lord of Leices- 
ter, maintain that poyson might be so tempered "and given, as it 
should not appear presently, and yet should kill the party after- 
wards at what time should be appointed." Stecvens. 



SCENE i.] THE TEMPEST. 53 



ACT IV. 

SCENE I. PROSPERO'S CELL. 
Enter PROSPERO, FERDINAND, and MIRANDA. 

Pro. If I have too austerely punish' d you, 
Your compensation makes amends;, for I 
Have given you here a thread of mine own life, 
Or that for which I live ; all thy vexations 
Were but my trials of thy love, and thou 
Hast strangely stood the test : l here, afore Heaven, 
I ratify this my rich gift. O Ferdinand, 
Do not smile at me, that I boast her off, 
For thou shalt find she will outstrip all praise, 
And make it halt behind her. 

Fer. I do believe it, 

A gainst an oracle. 

Pro. Then, as my gift, and thine own acquisition 
Worthily purchasYl, take my daughter : So 
Sit then, and talk with her, she is thine own. 
What, Ariel ; my industrious servant, Ariel ! 

[ARIEL appears. 

An. What would my potent master ? here I am. 

Pro. Thou and thy meaner fellows your last service 
Did worthily perform ; and I must use you 
In such another trick : go, bring the rabble, 3 
O'er whom I give thee power, here, to this place : 
Incite them to quick motion ; for I must 
Bestow upon the eyes of this young couple 



j_ strangely stood the test :] Strangely is here used as a term of 

commendation. " Thou hast wonderfully stood the test." 

* go, bring the rabble,'] The crew of meaner spirits. 



54 THE TEMPEST. [ACT IT. 

Some vanity of mine art ; 3 it is my promise, 
And they expect it from me. 

Ari, Presently?* 

Pro. Ay, with a twink. 

Ari. Before you can say, Come, and go, 
And breathe twice ; and cry, so, so ; 
Each one, tripping on his toe, 
Will be here with mop arid mowe : 
Do you love me, master ? no. 

Pro. Dearly, my delicate Ariel : Do not approach, 
Till thou dost hear me call. 

An. Well I conceive. [Disappears. 

Pro. No tongue ; r> all eyes ; be silent. [Soft music. 



A MASQUE. (A) 

IKIS(B) appears floating in mid-air, and is passed by VENUS(C) 

and CUPID, (D) " cutting the clouds towards Paphos" in a 

dove-drawn car. 

VIEW OF ELEUSIS(E) AND ITS TEMPLE, 

DEDICATED TO THE GODDESS CERES. 

Iri. Ceres, most bounteous lady, thy rich leas 
Of wheat, rye, barley, vetches, oats, and peas ; 
Thy banks with pioned and till'd 7 brims, 
Which spungy April at thy hest betrims, 
To make cold nymphs chaste crowns. 
The Queen o' the sky, 
Whose watery arch, and messenger am I, 
Bids thee leave these ; and with her sovereign grace, 

a vanity of mine art ;] i. e., illusion of mine art. 

4 Presently ?1 Now ? at once r 

5 with mop and moire :] A colloquial corruption of mocks 

and mouths. 

c No tongue ;] Those who are present at incantations are obliged 
to be strictly silent, " else," as we are afterwards told, " the spell 
is marred." JOHNSON. 

7 with pioned andtilFd brims,] Till'd refeis to cultivation 

by "pioning'' or digging. COLLIER. 



SCEXE i.] THE TEMPEST. 55 

Here on this grass plot, in this very place, 
To come and sport : her peacocks fly amain ; 
Approach, rich Ceres, her to entertain. 

Enter CERES. (F) 

Cer. Hail, many coloured messenger, that ne'er 
Dost disobey the wife of Jupiter ; 
Who, with thy saffron wings, upon my flowers 
Diffusest honey-drops, refreshing showers ; 
And with each end of thy blue bow dost crown 
My bosky acres, 8 and my unshrubb'd down, 
Rich scarf to my proud earth : Why hath thy queen 
Summon'd me hither, to this short-grass'd green ? 

Iri. A contract of true love to celebrate ; 
And some donation freely to bestow 
On the bless'd lovers 

Cer. Tell me, heavenly bow, 

If Venus, or her son, as thou dost know, 
Do now attend the queen : since they did plot 9 
The means, that dusky Dis 10 my daughter got, 
Her and her blind boy's scandal'd company 
I have forsworn. 

Iri. Of her society 

Be not afraid , I met her deity 
Cutting the clouds towards Paphos ; and her son 
Dove-drawn with her. 

Cer. Highest queen of state, 

Great Juno comes : I know her by her gait. 

JUNO DESCENDS,(G) 

ACCOMPANIED BY 

THE GRACES (H) AND THE SEASONS (K) 

WITH OTHER SPIRITS. 

8 My bosky acres,] Woody acres, or fields divided from each, 
other by hedge-rows. 

o since they did plot 

Tlie. means, that dusky Dis my daughter qof,~\ An allusion to her 
daughter Proserpine (Persephone), being carried off by Acidoneus 
(Pluto). 

dufl-y Dis'] Dis is contracted from Dives, a name some- 
times given to Pluto. 



5<> THE TEMPEST. [ACT iv. 

Fer. This is a most majestic vision, and 
Harmonious charmingly : May I be bold 
To think these spirits ? 

Pro. Spirits, which by mine art 

I have from their confines call'd to enact 
My present fancies. 

Fer. Let me live here ever ; 

So rare a wonder' d father, 11 and a wife, 
Make this place Paradise. 

Pro. Sweet now, silence : 

There's something else to do : hush, and be mute, 
Or else our spell is marr'd. 

Jun. You nymphs, call'd Naiads, of the wand'ring brooks, 
With your sedg'd crowns, and ever-harmless looks, 
Leave your crisp channels, 12 and on this green land 
Answer your summons ; Juno does command. 

Enter certain NYMPHS. (K) 
You sun-burn'd sicklemen, of August weary, 
Come hither from the furrow and be merry ; 
Make holy-day : your rye straw hats put on, 
And these fresh nymphs encounter every one 
In country footing. 

SONG. 
Jun. Honour, riches, marriage-blessing, 

Long continuance, and increasing, 

Hourly joys be still upou you ! 

Juno sings her blessing on you. 
Cer. Vines, with clust'ring bunches growing : 

Plants, with goodly burden bowing ; 

Rain come to you, at the farthest, 

In the very end of harvest ! 

Earth's increase, and foison plenty ; 13 

Barns and garners never empty. 

11 a wonder'd father,] A father able to produce such 

wonders. 

* 3 your crisp channels,] Crisp is sometimes used for curling 

or winding, but in the present instance the word may be understood 
to denote the curl raised by a breeze on the surface of the water. 

13 Earth's increase, and foison plenty ;] The produce of the earth 
and (foison') plenty to the utmost abundance. 



SCENE i.] THE TEMPEST. 57 

Scarcity, and want, shall shun you ; 
Ceres' blessing so is on you. 

CHORUS. 
The REAPERS join with the NYMPHS in a dance. f 

At end of chorus, PROSPERO starts suddenly, and speaks. 

Pro. [To the Spirits:'] Well done ; avoid : 
no more. [Spirits vanish. 

[Aside."] I had forgot that foul conspiracy 
Of the beast Caliban, and his confederates, 
Against my life ; the minute of their plot 
Is almost come. 

Fer. This is most strange : your father's in some passion 
That works him strongly. 

Mir. Never till this da} r , 

Saw I him touch'd with anger so distemper'd. 

fro. You do look, my son, in a mov'd sort, 
As if you were dismay'd : be cheerful, sir : 
Our revels now are ended : these our actors, 
As I foretold you, were all spirits, and 
Are melted into air into thin air : 
And, like the baseless fabric of this vision, 
The cloud- capt towers, the gorgeous palaces, 
The solemn temples, the great globe itself, 
Yea, all which it inherit, 14 shall dissolve ; 
And, like this insubstantial pageant faded, 15 
Leave not a rack behind : 16 We are such stuff 
As dreams are made of, and our little life 
Is rounded with a sleep. Sir, I am vex'd; i 

Bear with my weakness ; my old brain is troubled. 
Be not disturb'd with my infirmity : 
If you be pleas'd, retire into my cell, 



14 alt which it inherit,] All who possess, who dwell upon it. 

15 faded,'] Vanished. 

16 Leave not a rack behind:] Leave not a trace leave not the 
smallest particle of a feathery cloud behind. 



58 THE TEMPEST. [ACT iv. 

And there repose ; a turn or two I'll walk, 
To still my beating mind. 

,f/ J We wish you peace. [Exeunt. 

Pro. Come with a thought : I thank you : Ariel, come. 

[ABIEL appears. 

Ari. Thy thoughts I cleave to : 17 What's thy pleasure ? 

Pro. Spirit, 

We must prepare to meet with Caliban. 18 

Ari. Ay, my commander ! 

Pro. Say again, where didst thou leave these varlets r 

Ari. I told you, sir, they were red-hot with drinking ; 
So full of valour, that they smote the air 
For breathing in their faces ; beat the ground 
For kissing of their feet : yet always bending 
Towards their project ; so I charm'd their ears, 
That, calf-like, they my lowing follow'd, through 
Tooth'd briers, sharp furzes, pricking goss, and thorns, 
Which entered their frail shins : at last I left them 
I' the filthy-mantled pool beyond your cell, 
There dancing up to their chins in the foul lake. 

Pro. This was well done, my bird ; 
Thy shape invisible retain thou still : 
The trumpery in my house, go, bring it hither, 
For stale iy to catch these thieves. 

Ari. I go, I go. [Disappears. 

Pro. A devil, a born devil, on whose nature 
Nurture 20 can never stick ; on whom my pains, 
Humanely taken, are all lost, quite lost ; 
And as, with age, his body uglier grows, 
So his mind cankers : I will plague them all, 

[ARIEL re-appears, loaded with glittering apparel., fyc. 

17 Thy thoughts I cleave to :] To cleave to, is to unite with closely. 

18 to meet with Caliban. ,] To counteract Caliban. 

1 9 For stale] Stale is a word infolding, and is used to mean a bait 
or decoy to catch birds. 

20 Nurture can never stick ;] Nurture is education. 



SCENE i.] THE TEMPEST. 59 

Even to roaring : Come, place them on this seat. 
Go charge my goblins that they grind their joints 
With dry convulsions ; shorten up their sinews 
With aged cramps ; and more pinch-spotted make them, 
Than pard, 21 or cat o' mountain. 

Ari. They shall roar. 

Pro. Let them be hunted soundly : at this hour 
Lie at my mercy all mine enemies ; 
Shortly shall all my labours end, and thou 
Shalt have the air at freedom : for a little, 
.Follow, and do me service. \_Exeunt. 

Enter CALIBAN, STEPHANO, and TKINCULO, 
iv et and muddy. 

Cal. Pray you, tread softly, that the blind mole may not 
Hear a foot fall :'" we now are near his cell. 

Sic. Monster, your fairy, which, you say, is a harmless 
fairy, has done little better than play'd the Jack with us. 23 

Tri Monster, I do smell all horse-pond, at which my nose 
is in great indignation. 

Ste. So is mine. Do you hear, monster ? If I should 
take a displeasure against you ; look you, 

Tri. Thou wert but a lost monster. 

Cal. Good, my lord, give me thy favour still: 
Be patient, for the prize I'll bring thee to 
Shall hood-wink this mischance : therefore, speak softly ; 
All hush'd as midnight yet. 

Tri. Ay, but to lose our bottles in the pool 

Ste. There is not only disgrace and dishonour in that, 
monster, but an infinite loss. 

Tri. That's more to me than my wetting : yet this is 
your harmless fairy, monster. 



Leopard. 

2 ~ that the Lllndmole may not hear a footfall :] The mole is supposed 
to possess the quality of hearing to a high degree. 

23 - plaiidilic Jack with us.] Jack with a lantern; has led us 
about like an ignis fatuus. 



60 THE TEMPEST. [ACT iv, 

Ste. I will fetch off my bottle, though I be o'er ears for 
my labour. 

Cal. Pr'ythee, my king, be quiet. See'st thou here, 
This is the inner cell : no noise, and enter : 
Do that good mischief, which may make this island 
Thine own for ever, and I, thy Caliban, 
For aye thy foot-licker. 

Ste. Give me thy hand: I do begin to have bloody 
thoughts. 

Tri. O, King Stephano! O, peer! O, worthy Ste- 
phano ! look, Avhat a wardrobe here is for thee ! 

Cal. Let it alone, thou fool; it is but trash. 

Tri. O, ho ! monster ; we know what belongs to a frip- 
pery. 24 O, King Stephano ! 

Ste. Put off that gown, Trinculo ; by this hand, I'll have 
that gown. 

Tri. Thy grace shall have it. 

Cal. The dropsy drown this fool ! what do you mean, 
To doat thus on such luggage ? Let's along, 
And do the murder first : if he awake, 
From toe to crown, he'll fill our skin with pinches; 
Make us strange stuff. 

Ste. Be you quiet, monster, 

Cal. We shall lose our time, 
And all be turn'd to barnacles, 25 or to apes 
With foreheads villainous low. 26 

Ste. Monster, lay-to your fingers ; help to bear this 



24 a frippery.*] A. frippery was a shop where old clothes 

were sold, and the person who kept one of these shops was called 
a fripper. Strype, in the Life of Stowe, says, that these frippers 
lived in Birchin-lane and Cornhill. 

25 turn (I to barnacles,'] The barnacle is a kind of shell fish, 
growing on a flexible stem, and adhering to loose timber, bottoms 
of ships, &c., anciently supposed to turn into a Solan goose. 
Whether the fish or the bird be meant in the above passage, is not 
clear. NAHES'S GLOSSARY. 

26 With foreheads villainous loic.~\ Low foreheads were anciently 
reckoned amongst deformities. STEEVENS. 



SCENE i.] THE TEMPEST. 61 

away, where my hogshead of wine is, or I'll turn you out of 
my kingdom : go to, carry this. 

Tri. And this. 

Ste. Ay, and this. 

A NOISE OF HUNTERS HEARD. 
ENTER DIVERS SPIRITS, IN VARIOUS SHAPES, 

AND HUNT THEJI ABOUT; 

ARIEL, FLYING ON A BAT'S BACK, 

SETTING THEM ON. 



END OF ACT FOURTH. 



THE TEMPEST. [ACT iv. 



HISTORICAL NOTES TO ACT FOURTH. 



(A) A Masque."] The ancient English payccwts were shows exhibit- 
ed on the reception of a prince, or any other solemnity of a similar 
kind. They were presented on occasional stages erected in the 
street. Originally they appear to have been nothing more than 
dumb shows ; but before the time of our author, they had been en- 
livened by the introduction of speaking personages, who were cha- 
racteristically habited. The speeches were sometimes in Terse ; and 
as the procession movedforward, the speakers, who constantly bore 
some allusion to the ceremony, either conversed together in the 
form of a dialogue, or addressed the noble person whose presence 
occasioned the celebrity. On these allegorical spectacles very 
costly ornaments were bestowed. When King James and his 
Queen passed from the Tower to Westminster, seven gates or 
arches were erected in different places, through which the pro- 
cession passed. Over the first gate " was represented the true 
likeness of all the notable houses, TOWERS and steeples, within the 
citie of London." " The sixt arche or gate of triumph was erected 
above the Conduit in Fleete-Streete, whereon the GLOBE of the 
world was seen to move, &c. At Temple-bar a seaventh arche or 
gate was erected, the fore-front whereof was proportioned in every 
respect like a TEMPLE, being dedicated to Janus, &c. The citie o"f 
Westminster, and dutchy of Lancaster, at the Strand had erected 
the invention of a Rainbow, the moone, sunne, audstarres, advanc - 
ed between two Pyramides, &c." AXXALS, p. 1129, edit. 160-5. 
Malone. 

(B) Iris, is described by Homer in the Iliad as the messenger of 
the Gods, especially of Zeus and Hera (Jupiter and Juno). Iris 
appears to have been originally the personification of the rainbow : 
for this brilliant phenomenon in the skies, which vanishes as quickly 
as it appears, was regarded as the swift messenger of the Gods. 
Some poets describe Iris as the rainbow itself; but other writers 
represent the rainbow as only the road on which Iris travels. Iris 
is represented in works of art dressed in a long tunic, with wings 
attached to her shoulders, and carrying the Herald's staff in her 
left hand. 

(c) Venus amongst the Romans the goddess of love and beauty, 
ana under the name of Aphrodite, one of the great divinities of the 



ACT iv.] THE TEMPEST. 

Greeks. Her worship AVRS of Eastern origin ; and probably in- 
troduced by the Phoenicians to the island of Cyprus, Cvthera, and 
others, from whence it spread all over Greece. She appears to 
have been originally identical with Astarte, called by the Hebrews, 
Ashtoreth. The sparrow, the dove, the swan, and the swallow, 
are mentioned as drawing her chariot, or serving as her messengers. 

(D) Cupid, son of Jupiter and Venus, a celebrated deity amongst; 
the ancients God of love and love itself described as a lively 
ingenious youth, and represented as a winged infant, naked, armed 
with a bow, and quiver full of arrows. 

(E) Eleusis, a town of Attica, situate N. W. of Athens. It 
possessed a magnificent temple of Demeter (Ceres), and it gave 
its name to the great festival of the Eleusinia, which was cele- 
brated in honour of Demeter (Ceres) and her daughter Tersephone. 

(r) Ceres, under the name of Demeter, one of the greatest 
divinities of the Greeks was the goddess of the earth, and her 
name probably signified mother-earth. She was the protectress of 
agriculture, and of all the fruits of the earth. The Romans 
received from Sicily the worship of Demeter, to whom they gave 
the name of Ceres. 

In works of art, Demeter is represented wearing around her 
head a garland of corn-ears ; and in her hand she held a sceptre 
of corn- ears or a poppy. 

(G) Juno this goddess was worshipped under the name of 
Juno at Rome, as the queen of heaven, but was called Hera by 
the Greeks. As Jupiter is the king of heaven and of the gods, 
so Juno is the queen or the female Jupiter. She is represented as 
adorned with a crown or diadem. A veil frequently hangs down 
the back of her head, to characterise her as the bride of Zeu.s 
(Jupiter) ; and the diadem, veil, sceptre, and peacock, are her 
ordinary attributes. 

(H) The Graces, called Charites by the Greeks, were the per- 
sonification of Grace and Beauty. They are usually described as 
three in number, and were the goddesses who enhanced the en- 
joyments of life by refinement and gentleness. They lent their 
grace and beauty to every thing that delighted and elevated gods 
and men, and were described as in the service of other divinities. 

(r) Seasons (Horae) Originally the. goddesses of the order of 
nature and the seasons, but in later times, the goddesses of order 
in general, and of justice. The course of the seasons is symboli- 
cally described as the dance of the Horse. They bear a resem- 
blance to, and are mentioned along with, the Graces, and both arc 
frequently confounded or identified. They were the protectresses 
of youth, and gave to the state good laws, justice, and peace. 

(K) Enter certain JfympktJ\ The nymphs of fresh water, 
whether of rivers, lakes, brooks, or springs, were designated by 
the general name Naiades. 



64 THE TEMPEST. [ACT iv. 

The early Greeks saw, in all the phenomena of nature, some 
manifestations of the Deity. 

Springs, rivers, grottoes, trees, and mountains, all seemed to 
them fraught with life, and all were only the visible embodiment 
of so many divine agents. The salutary and beneficent powers of 
nature were thus personified, and regarded as so many divinities. 

For Classical Authorities Vide Smith's Dictionary, 



SCENE i.] THE TEMPEST. 65 



ACT Y. 

SCENE I. BEFORE THE CELL OF PROSPERO. 

PRGSPERO in his magic, roles. 

Pro. Now does my project gather to a head : 
My charms crack not ; my spirits obey ; and time 
Goes upright with his carriage. 1 Ariel ! say, 

t f ARIEL appears. 

How fares the king and his r 2 

Ari. Confm'd together 

In the same fashion as you gave in charge ; 
Just as you left them ; all prisoners, sir ; 
They cannot budge, till your release. 3 The king, 
His brother, and yours, abide all three distracted ; 
And the remainder mourning over them, 
Brim-full of sorrow, and dismay ; 
Your charm so strongly works them, 
That if you now beheld them, your affections 
Would become tender. 

Pro. Do'st thou think so, spirit ? 

Ari. Mine would, sir, were I human. 

Pro. And mine shall. 

Hast thou, which art but air, a touch, 4 a feeling 
Of their afflictions ? and shall not myself, 
One of their kind, be kindlier mov'd than thou art ? 



1 time goes upright with 'his carriage.] Time goes upright 

with his burden. Events move on rightly. 

2 How fares the king and his ?] And his followers. 

3 till your release.] Till you release them. 

* a, touch,'] A sensation. 



<)(> THE TEMPEST. [ACT V 

Though with their high wrongs I am struck to the quick, 
Yet, with my nobler reason, 'gainst my fury 
Do I take part : the rarer action is 
In virtue than in vengeance : they being penitent, 
The sole drift of my purpose doth extend 
Not a frown further : Go, release them, Ariel ; 
My charms I'll break, their senses I'll restore, 
And they shall be themselves. 
" Art'. I'll fetch them, sir. [Disappears. 

Pro. Ye elves 5 of hills (A), brooks, standing lakes and 

groves ; 

And ye, that on the sands with printless foot 
Do chase the ebbing Neptune ; by whose aid 
; Weak masters though ye be,) I have be-dimnvd 
The noon-tide sun, call'd forth the mutinous winds, 
And 'twixt the green sea and the azur'd vault 
Set roaring war : to the dread rattling thunder 
Have I given fire, and rifted Jove's stout oak 
With his own bolt : the strong-bas'd promontory 
Have I made shake ; and by the spurs pluck'd up 
The pine, and cedar : But this rough magic 
I here abjure : and, when I have required 
Some heavenly music, (which even now I do,) 
To work mine end upon their senses, that 
This airy charm is for, I'll break my staff, 
Bury it certain fathoms in the earth, 
And, deeper than did ever plummet sound, 
I'll drown my book. 

[Solemn music. PKOSPERO describes a Circle 
with his ivand. 

Pro. Ariel ! [ARIEL reappears. 

Dainty spirit, 

Thou shalt ere long be free. I shall miss thee ; 
But yet thou shalt have freedom : 
To the king's ship, invisible as thou art : 
There shalt thou find the mariners asleep 
Under the hatches ; the master, and the boatswain, 

Ye elves] Fairies and elves are frequently in, the poets mcu- 
tioncd together. 



SCENE i.] THE TEMPEST. -G7 

Being awake, enforce them to this place ; 
And presently I pr'ythee. 

Ari. My lord, it shall be done. 

Pro. Set Caliban and his companions free. 
Untie the spell. 

Ari. I drink the air before me, and return 
Or e'er your pulse twice beat. \Exit ARIKJ.. 

Pro. I will disease me, and myself present 
As I was sometime Milan. 6 

[Exit PROSPERO into tavern. 

Enter ALONSO with a frantic gesture, attended by GOXKALO ; 
SEBASTIAN and ANTONIO in like manner, attended by 
ADRIAN and FRANCISCO .- they all enter the circle 
which PROSPERO had made, and there stand charmed. 

Gon. Some heavenly power guide us 
Out of this fearful country. 

SONG BY INVISIBLE SPIRIT. 

Where the bee sucks, there suck I ; 

In a cowslip's bell I lie : 

There I couch when owls do cry. 

On the bat's back I do fly, 

After sunset merrily : 

Merrily, merrily, shall I live now, 

Under the blossom that hangs on the bough. 

Enter PROSPERO, as the Duke of Milan. 

Pro. There stand, for you are spell- stopp'd. 
Not one of them, 

That yet looks on me, or would know me. 
Noble Gonzalo honourable man 
Mine eyes e'en sociable to the flow of thine, 
Fall fellow drops. The charm dissolves apace ; 

* I will disease nie, and myself present 

As I was sometime Milan. :] id est., I will take off this dress 
and present myself as I was sometime since, the Duks of Milan. 

I 2 



68 THE TEMPEST. [ACT r 

And as the morning steals upon the night, 
Melting the darkness, so their rising senses 
Begin to chase the ignorant fumes 7 that mantle 
Their clearer reason. Behold, sir king, 
The wronged Duke of Milan, Prospero : 
For more assurance that a living prince 
Does now speak to thee. I embrace thy body ; 
And to thee, and thy company, I bid 
A hearty welcome. 

Alo. Whe'r 8 thou beest he, or no, 

Or some enchanted devil to abuse me, 
As late I have been, I know not. 
Thy dukedom I resign ; 9 and do intreat 
Thou pardon me my wrongs : But how should Prospero 
Be living, and be here ? 

Pro. First, noble friend, 

Let me embrace thine age ; whose honour cannot 
Be measur'd, or confm'd. 

Gon. Whether this be, 

Or be not, I'll not swear. 

Pro. You do yet taste 

Some subtilties o' the isle, 10 that will not let you 
Believe things certain : Welcome, my friends all : 
But you, my brace of lords, were I so minded, 

\Aside to SEBASTIAN and ANTONIO. 
I here could pluck his highness' frown upon you, 
And j ustify you traitors ; at this time 
I'll tell no tales. 

Seb. The devil speaks in him. \_Aside. 



7 tlie ignorant fumes] i. e., fumes of ignorance. 

8 Whe'r'] Whether. 

Thy dukedom I resign ;~\ The Duchy of Milan being, through 
the treachery of Antonio, made feudatory to the crown of Naples, 
Alonso promises to resign his claim of sovereignty for the future. 
STEEVENS. 

10 Some suit lit ieso' the isle,] This is a phrase adopted from ancient 
cookery and confectionery. When a dish was so contrived as to 
appear unlike what it really was, they called it a subtilty. Dragons, 
castles, trees, &c., made out of sugar, had the like denomination. 



SCENE T.] THE TEMPEST. 

Pro. No : 

For you, most wicked sir, whom to call brother 
Would even infect my mouth, I do forgive 
Thy rankest fault ; all of them ; and require 
My dukedom of thee, which, perforce, I know 
Thou must restore. 

Alo. If thou beest Prospero, 

Give us particulars of thy preservation : 
How thou hast met us here, who three hours since 
Were wreck'd upon this shore ; where I have lost, 
How sharp the point of this remembrance is ! 
My dear son Ferdinand. 

Pro. I am woe fort, sir. 11 

But howsoe'r you have 

Been justled from your senses, know for certain, 
That I am Prospero, and that very duke 
Which was thrust forth of Milan ; who most strangely 
Upon this shore, where you were wreck'd, was landed, 
To be the lord on't. No more yet of this. 
Welcome, sir ; 

This cell's mv court : here have I few attendants, 
And subjects none abroad : pray you, look in. 
My dukedom since you have given me again, 
I will requite you with as good a thing ; 
At least, bring forth a wonder, to content ye, 
As much as me my dukedom, 

The entrance of the cell opens, and discovers FERDINAN* 
and MIRANDA playing at chess. 

Alo. If this prove 
A vision of the island, one dear son 
Shall I twice lose. 

Sel. A most high miracle ! 

[FERDINAND and MIRANDA come from the cell. 
Fcr. Though the seas threaten, they are merciful : 
I have curs'd them without cause. 

[FERDINAND Jtneels to ALONSO. 
Alo. Now all the blessings 



11 J am woefcr't, sn:"] I am sorry for it. To le woe is often used 
by old writers to signify "to be sorry," 



70 THE TEMPEST. [ACT v, 

Of a glad father compass thee about ! 
Arise, and say how thou cam'st here. 

Mir. O! wonder! 

How many goodly creatures are there here ! 
How beauteous mankind is ! 

Alo. What is this maid, with whom thou wast at play? 
Is she the goddess that hath sever'd us, 
And brought us thus together ? 

Fer. Sir, she's mortal ; 

But, by immortal providence, she's mine ; 
I chose her, when I could not ask my father 
For his advice : nor thought I had one : she 
Is daughter to this famous Duke of Milan, 
Of whom so often I have heard renown, 
But never saw before ; of whom I have 
Receiv'd a second life, and second father 
This lady makes him to me. 

Alo. I am hers : 

But O, how oddly will it sound, that I 
Must ask my child forgiveness ! 

Pro. There, sir, stop ; 

Let us not burden our remembrances 
With a heaviness that's gone. 

Alo. Give me your hands : 

[7b FERDINAND and MIRANDA. 
Let grief and sorrow still embrace his heart, 
That doth not wish you joy ! 

Gon. Be't so ! Amen ! 

Enter the MASTER and BOATSWAIN amazedly. 
O, look, sir, look, sir ; here are more of us ! 

Boa. The best news is, that we have safely found 
Our king, and company : the next, our ship, 
Is tight, and yare, 12 and bravely rigg'd. as when 
We first put out to sea. 

Pro. How fares my gracious sir ? 
There are yet missing of your company 
Some few odd lads, that you remember not. 



Yarf,] Beady, 



8CENB i.] THE TEMPEST. 71 

Enter CALIBAN, STEPHANO, and TRINCULO. 
Ste. Every man shift for all the rest, and let no man take 
care for himself; for all is but fortune : Coragio, bully- 
monster, coragio ! 13 

Tri. If these be true spies which I wear in my head, 
here's a goodly sight. 

Gal. O Setebos, these be brave spirits, indeed ! 
How fine my master is ! I am afraid 
He will chastise me. 
I shall be pinch'd to death. 

Alo. Is this not Stephano, my drunken butler ? 
Seb. He is drunk now : Where had he wine ? 
Alo. And Trinculo is reeling ripe : 
How cam'st thou in this pickle ? 

Tri. I have been in such a pickle, since I saw you last, 
that, I fear me, will never out of my bones : I shall not 
fear fly-blowing. 14 

Seb. Why, how now, Stephano : 

Ste. O, touch me not ; I am not Stephano, but a cramp. 1 "' 

Pro. You'd be king of the isle, sirrah ? 

Ste. I should have been a sore one, then. 

Alo. This is as strange a thing as e'er I look'd on. 

[Pointing to CALIBAN. 

Pro. He is as disproportion'd in his manners, 
As in his shape : Go, sirrah, to my cell ; 
Take with you your companions ; as you look 
To have my pardon, trim it handsomely. 

Cal. Ay, that I will : and I'll be wise hereafter, 
And seek for grace : What a thrice -double ass 
Was I, to take this drunkard for a god, 
And worship this dull fool ? 

Pro. Go to ; away ! 

1 z Coragio /] An exclamation of encouragement. 
l * - fly -blowing.] Such a pickle alludes to their being left by 
Ariel " in the filthy mantled pool ;" and pickling preserves meat 



18 - but a cramp.} I am all over a cramp. Prospero having 
ordered Ariel " to shorten t// then sineics with aged crarrp*." 



72 THE TEMPEST. [ACT v. 

*dlo. Hence, and bestow your luggage where you found it. 

Seb. Or stole it, rather. 

[Exeunt CALIBAN, STEPHANO, and TRINCULO. 

Pro. Sir, I invite your highness and your train, 
To my poor cell : where you shall take your rest 
For this one night ; which (part of it) I'll waste 
With euch discourse, as, I not doubt, shall make it 
Go quick away : the story of my life, 
And the particular accidents, gone by, 
Since I came to this isle : And in the morn, 
I'll bring you to your ship, and so to Naples, 
Where I have hope to see the nuptial 
Of these our dear beloved solemniz'd ; 
And thence retire me to my Milan, where 
Every third thought shall be my grave. 

Jllo. I long 

To hear the story of your life, which must 
Take the ear strangely. 

Pro. I'll deliver all; 

And promise you calm seas, auspicious gales, 
And sail so expeditious, that shall catch 
Your royal fleet far off. 
Please you draw near. 

[Exeunt all but PROSPERO into cell. 

My Ariel ; chick ! [ARIEL appears. 

That is thy charge ; then to the elements 
Be free, and fare thou well ! 

NIGHT DESCENDS. 
THE SPIRITS, RELEASED BY PROSPERO, 

TAKE THEIR FLIGHT FROM THE ISLAND, INTO TliE A1K. 

CHORUS OF SPIRITS. 

Where the bee sucks, &c., &c. 

MORNING BREAKS, AND SHOWS 

A SHIP IN A CALM, 

PREPARED TO CONVEY THE KING AND HIS 
COMPANIONS BACK TO NAPLES. 



SCENE i.] THE TEMPEST. 73 

EPILOGUE. 

SPOKEN BY PROSPERO FROM THE DECK OF THE VESSEL. 

Now my charms are all o'erthrown, 
And what strength I have's mine own ; 
Which is most faint : now, 'tis true, 
I must be here confin'd by you, 
Or sent to Naples : Let me not, 
Since I have my dukedom got, 
And pardon'd the deceiver, dwell 
In this bare island, by your spell; 
But release me from my bands, 
With the help of your good hands. 16 
Gentle breath of yours my sails 
Must fill, or else my project fails, 
Which was to please : Now I want 
Spirits to enforce, art to enchant ; 
And my ending is despair, 
Unless I be reliev'd by prayer ; n 
Which pierces so, that it assaults 
Mercy itself, and frees all faults. 
As you from crimes would pardon'd be, 
Let your indulgence set me free. 

THE SHIP GRADUALLY SAILS OFF, 
THE ISLAND RECEDES FROM SIGHT, 

AND ARIEL REMAINS ALONE IN MID-AIR, WATCHING 
THE DEPARTURE OF HIS LATE MASTER. 

DISTANT CHORUS OF SPIRITS. 

6 With the help of your good hands. ,] By your applause, by clap- 
ping hands. Noise being supposed to dissolve a spell. 

1 7 Unless I he relieved by prayer ;] This is an allusion to the old 
stories told of the despair of necromancers in their last moments, 
and of the efficacy of the prayers of their friends for them. 

WARBUKTOX. 

THE END. 



74 THE TEMPEST. [ACT T 



HISTORICAL NOTES TO ACT FIFTH. 



(A) Ye el.s of hills.'] The different species of the fairy tribe are v 
called in the Northern languages celfen, elfen, and alpen, words 
of remote and uncertain etymology. The Greek o\$io<r, felix, 
is not so plausible an original as the Teutonic helfen, juvare ; 
because many of these supernatural beings were supposed to be 
of a mischievous nature, but all of them might very properly be 
invoked to assist mankind. Some of the northern nations regard- 
ed them as the souls of men who in this world had given them- 
selves up to corporeal pleasures, and trespasses against human 
laws. It was conceived, therefore, that they were doomed to 
wander for a certain time about the earth, and to be bound in a 
kind of servitude to mortals. One of their occupations was that 
of protecting horses in the stable. See Olaus Magnus de gentibus 
septentrionalibus, lib. iii. cap. xi. It is probable that our fairy 
system is originally derived from the Fates, Fauns, Nymphs, 
Dryads, Dese matres, &c., of the ancients, in like manner as other 
Pagan superstitions were corruptedly retained after the promulga- 
tion of Christianity. The general stock might have been augmented 
and improved by means of the crusades and other causes of inter- 
course with the nations of the East. Douce. 



-AXE, 



ERRATA. 

A few trifling omissions have been found 
absolutely necessary in representation, since the 
first edition of the book was published. The 
corrections will be made in the next issue. 



74 THE TEMPEST. [ACT v. 



HISTORICAL NOTES TO ACT FIFTH. 



(A) Ye elvts of hills.] The different species of the fairy tribe are , 
called in the Northern languages celfen, elfen, and alpen, words 
of remote and uncertain etymology. The Greek oX&ioff, felix, 
is not so plausible an original as the Teutonic helfen, juvare ; 
because many of these supernatural beings were supposed to be 

of a m.isP-'hifi'B'^ia y>o<-"^ V.-fc -11 - f ^1 

invoke 

ed ther. 

selves i 

laws. 

wandei 

kind 01 

of prot 

septentn 

system 

Dryads 

Pagan 

tionof( 

and im] 

course ,,^^ W1C naviuus 01 uie j^ast. Douce. 



JOHN X. CHAPMAN AND CO., PRINTERS, 5, SHOE LANE, 
AND PETERBOROUGH COURT, FLEET STREET. 



RENEWALS ONLY TEL. NO. 642-3405 m the 

This book is due on the last date stamped below, or 

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Renewed books are subject to immediate recall. 



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APR 1 8 1984 



rec'd circ. JUN 6 




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General Library 

University of California 

Berkeley 



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